Posts tagged with "London":
Bright colors, bold stripes, and geometric shapes were found in abundance during London Design Festival (LDF), which closed on September 24.
Stealing the show were London designers Camille Walala and Adam Nathaniel Furman. The former’s Villa Walala inflatable castle comprised a series of basic shapes doused with playful colors to match. Walala’s installation, which is in keeping with her previous work, couldn’t be more out of place. Situated in Broadgate’s Exchange Square by Liverpool Street, Villa Walala spruced up an area typically awash with navy-suited bankers on smart phones. The castle was perhaps much needed.
The splash of color continued on to the West. At the Barbican, Morag Myerscough and Luke Morgan designed Joy. Spanning the Barbican’s concrete wall along Silk Street were six symbols: a heart represented love, a globe represented society, a sun represented joy, an eye represented London’s openness, a star represented energy, and finally, a flower represented peace.
The same symbols could also be found at the designers’ Peace Garden and Pavilion in the West Smithfield Rotunda Garden. This piece, which was more accomplished, played with perspective and also provided shelter to visitors courtesy of drapes partially spanning the circular walkway, supported by zig-zagging columns.
More of Myerscough’s work could be found south of the river, too, though this was not part of the LDF. Emblazoned onto Grosvenor Arch, the entrance to Battersea’s Circus West Village (an area primed for vapid commercialization and luxury condos), is the word “POWER.” Just as blindingly colorful as the Peace Garden and Pavilion, the piece – known as Power Circus – makes use of marine plywood panels that were hand-painted by Myserscough and her team of artists.
If this aesthetic was to your taste, then one could head even further west to White City. Here, New York and London-based designers Craig Redman and Karl Maier transformed a former gas station. Titled HereAfter, the colorful installation was not part of the LDF but is open to the public indefinitely. HereAfter can be found on 74 Wood Lane.
It should be no surprise that with such vibrant hues being plastered all over the capital, Adam Nathaniel Furman got in on the act. Another star installation which had Instagrammers flocking to it was Gateways. Commissioned by Turkishceramics, Furman designed four 13-foot-by-13-foot tiled gates that referenced the history of ceramics in Turkish. The gates had different shaped passageways through them and were flanked on either side by shallow water that reflected the colorful tiles.
“There is no other architectural treatment that has remained as fresh, relevant and cool as ceramics has from a thousand years BC, right through into the 21st century,” said Furman.
His work, which was located at Granary Square by Kings Cross Station, fronted the Central Saint Martins art school where DesignJunction—a three-day design fair run in tandem with the LDF—was hosted in and around. Here, work from numerous exhibitors could be found, notably Turner Prize-winning architecture studio Assemble. The group showcased work from their Granby workshop in Liverpool which produced fixtures and fittings for the Granby Four Streets project which won the 2015 Turner Prize. Now in its second year, the workshop is expanding to produce tableware known as “SPLATWARE.”
Also on show at the LDF was work from British architecture firm Sam Jacob Studio. Presented in collaboration with car manufacturer MINI, Urban Cabin was a mock micro-house situated in Blackfriars where Londoners could come and swap books. On one side of the cabin, Jacob installed classically-inflected entablature crafted with a range of materials including foam board, MDF and various types of other timber and chipboard. Among a hammock and other furnishings, Urban Cabin came pre-stocked with architecture, design and London-centric books for people to take and replace – on the condition that they left a personal note about the book.
The festival continued at Somerset House. The most popular piece here was PriestmanGoode’s exhibition of interior design strategies for a hyperloop system. Here, visitors could also sit on prototype seat and feel test finishes and surfaces, look at color palettes and provide suggestions for what they wanted inside hyperloop cars.
LDF spread to Greater London, too. In Bexley, East London, Erith Lighthouse was erected for the festival. The polycarbonate lighthouse, designed by architects DK-CM and design studio The Decorators, was erected along the Thames Estuary's edge and hosted a series of food-based events.https://youtu.be/w3KUcQt8Yys
Sticking to light as a medium, the Victoria & Albert Museum showcased the Reflection Room as part of the festival. Created by Flynn Talbot, the exhibition used 56 custom-made stretch membrane Barrisol panels to reflect orange and blue light which emanated from Tryka LED profiles installed at each end of an enclosed corridor .
The shortlist for the Center for Music in full is as follows:
- AL_A (U.K.) and Diamond Schmitt Architects (Canada)
- Diller Scofidio + Renfro (U.S.) and Sheppard Robson (U.K.)
- Foster + Partners (U.K.)
- Gehry Partners, LLP (U.S.) and Arup Associates (U.K.)
- Renzo Piano Building Workshop (France)
- Snøhetta (Norway)
The aforementioned architecture firms and their teams will provide designs in the coming months. A winner is expected to be announced in the fall.
The current concert hall in the Barbican has also seen recent work done to it—or rather underneath it—in the wake of CrossRail, a new rail line that connects East and West London. In order to reduce noise, special spring-loaded rails are being installed to dampen vibrations which reverberate loudly in the tunnels, potentially disturbing performances. Engineers have not been able to test the idea, but are hopeful of its success.
“Context,” “vernacular,” and “reference” were the architectural buzzwords of choice that critic Owen Hatherley, at the start of 2017, used to recall the Architectural Review’s “Townscape” campaign. Here, he postulated that enhancing the old can be achieved by celebrating the new and serve as a deterrence to bland homogeneity. In London, viewing architecture without actually experiencing it in person is dominated by two abstract frames of reference: Instagram and flying things.
The former has helped to articulate a trend of austerity nostalgia and pastiche faux edginess, all bound by a medium that aestheticizes a bygone era and conveniently filters out context. It is, however, a deeply personal medium. The latter, meanwhile, depicts architecture within the cityscape and typically from above; lashings of context, yet devoid of any personal meaning seeing as very few of us can afford to travel by helicopter, and even fewer are birds.
New Architecture London, refreshingly and succinctly, makes no allusions as to what it's about through its title—not London looking nervously over its shoulder through rose-tinted spectacles, nor blind developer-driven optimism, this is the city as if were you to wander it right now.
Across 163 pages, photographers, Agnese Sanvito and Richard Schulman present a perpetually changing London in the “now;” a city, evidently rich in history, but not bound by it. For Schulman portraits of architects—and not just their buildings—is a hallmark of his work. While no portraits are featured in this book, it operates at a personal level with Schulman and Sanvito's lenses curating a pedestrian perspective of the city’s contemporary buildings.
In his foreword to the book, critic Edwin Heathcote describes Norman Foster's 30 St. Mary Axe (known by its colloquial moniker: The Gherkin) as a "bullet emerging from a city that has been bombed three times in a century." “Now it can barely be seen,” he continues, noting the structure as a stylistic and typological catalyst for its more contemporary, Boris-approved counterparts. It’s not all heroic, however. A generation ago, as Heathcote acknowledges, London was populated by few structures by architects of international repute, but now it is a playground for Pritzker Prize winners to plonk their iconic structures.
When Renzo Piano's Shard is framed with the abstract geometry of more glass you wonder: if the U.K.'s tallest building wasn't in the picture, would we know what city we were in? On the next page, a counter: the Shard rising above a Georgian wall, amid an equally mundane, yet historically inflected setting. In both, the Shard is the only visual indicator of place, but how long will this continue to be the case? Heathcote remarks, though, “it’s not just [London’s] skyline that has seen radical changes; its streets and its public spaces are being transformed” too.
This is a precedent for the photographers' work which looks at the abstract and intimate relationship between old and new (Amanda Levette’s 10 Hills Place and RARE Architects’ Patriot Square being notable examples). It also allows London's new architecture, in light of Townscape, to frame and be framed by its context. This is achieved sometimes by letting reflections, light, and shadow alternate focal points. Other times, it is as Heathcote remarks, “glimpsed around corners… or poking above streets.”
The technique encourages you to seek the narrative of a place and imagine the moment which is presented, as Schulman’s photograph of Caruso St. John's RIBA Stirling Prize winning Newport Street Gallery demonstrates. Even if you don't know what a delayed Southwest train service destined for Waterloo sounds like, the act of placing yourself in that scene isn't hard as the skyward facing photograph frames the saw-toothed roof and train reflection in the gallery's windows. Sadly, however, this image is afforded little page space by Prestel. The same could be said for a few other images too.
The term "shot" perhaps is a disservice to the photograph. Implying it was taken sporadically in the moment (a trait intentionally and successfully articulated) hides the fact that Schulman, in fact, spent considerable time to capture the moment and essence of place—even if a particular place is lacking in just that. He typically visits sites 20-30 times before shooting. "To take great pictures, you have to be prepared to lie on your back in the middle of the street," he told me.
Or sometimes, you have to be in a gondola—the Emirates Airline to be precise—from which Wilkinson Eyre’s Emirates Royal Docks and the Crystal can be spied. A synopsis states the cable-car system “connects directly to the London Underground while granting passengers a much more absorbing visual experience.” Don’t be fooled. When the summer tourists disappear, the supposed infrastructure is a ghost town gimmick—and a costly one too.The Emirates airline is the only transport-orientated project featured, which says a lot for London’s building priorities. It could be said today’s starchitects were beaten to the opportunity largely by the Victorians, but Norman Foster's British Museum proved great work can be done when working with buildings from this era. New Architecture London is also ordered as haphazardly as London itself. A chronological or geographical route through would have been handy.
Three brick blockbusters, O'Donnell + Tuomey's LSE Saw Swee Hock Student Center and Herzog de Meuron's Switch House, in addition to Newport Street Gallery, can be found at the end of the book and remind us that London was once a brick-built city; a gracious nod to, not fetishized fawning, of the past. Looking forward, meanwhile, is New London Architecture, presenting an honest and refreshing take on a city still working out where it wants to go.
New Architecture London Prestel $45.00
A unique exhibition opened last week at the RIBA in London that compares schemes from two of the most iconic architects of the 20th Century: Mies van der Rohe and James Stirling.
The exhibition, titled Mies van der Rohe & James Stirling: Circling the Square, takes a look at the unrealized Mansion House Square proposal by the former that was succeeded 20 years later by James Stirling's newly listed No. 1 Poultry scheme. Sited in central London, Mies's modernist proposal (a stylistic antonym of what was actually erected) drew ire from the public and monarchy, though the story, up until now, has likely been a mystery to those not old enough to know of its existence.
The exhibition is the first time the public has been able to compare and contrast the two architects’ responses to a tricky site. The curators of the exhibition—Marie Bak Mortensen, head of exhibitions and Vicky Wilson, assistant curator, RIBA—have spent the last two-and-half years researching and sourcing a vast collection of photography, drawings, models, articles, and artifacts. Speaking to The Architect's Newspaper, they said their motivation behind the exhibition was to "dig behind the official story," fraught with controversy and public opinion, to expose the architecture beneath.
Mortensen and Wilson, the original designers of the RIBA architecture gallery, have returned to design an exhibition consisting of steel, stained wood, and floating tables. A 1:96 scale model of the Mansion House scheme dominates the exhibition, which was used as a marketing tool to impress the public ten years after the passing of Mies himself. The highly detailed model of a proposal which was once dubbed a "glass stump" by Prince Charles, has been restored back its former glory.
During its ascension into the public mainframe, the focal point of opposition to the scheme did not pertain to the scale of the 18 story tower of glass and bronze, but rather the vast public space proposed beneath and around. It is a public space which would be cherished today, yet in the 1960s it was seen as space which could incite unrest—a notion particularly toxic amid the wave of IRA terrorism in the UK. Circling the Square tells the story of the tumultuous 40-year journey of the site, culminating in the completion of No. 1 Poultry which went up in 1997, five years after Stirling's death.
Mies van der Rohe & James Stirling: Circling the Square runs through June 25 and is on show at The Architecture Gallery, RIBA, 66 Portland Place, London.
The proposed design for the 2017 Serpentine Pavilion is conceived as a micro cosmos—a community structure within Kensington Gardens that fuses cultural references of my home country Burkina Faso with experimental construction techniques. My experience of growing up in a remote desert village has instilled a strong awareness of the social, sustainable, and cultural implications of design. I believe that architecture has the power to, surprise, unite, and inspire all while mediating important aspects such as community, ecology and economy.To read the rest of Kéré's statement and learn more about the pavilion, see the Serpentine Gallery's website here. The pavilion will be on view from June 23rd to October 8th, 2017.