And at the new pavilion, color is indeed everywhere. When approaching it, hints of a cacophony of color can be spied: pink tips pop out above the park’s perimeter wall; beyond the trees, glimpses of blue and red can be seen through the green. Closer inspection reveals thin, cuboid timber louvers (there are more than 2100) painted in green, yellow, blue, pink, red, and orange. The result makes the facade shimmer from the outside, blending the different tones in the process. Triangles and circles—motifs prevalent in Ilori’s work as a furniture designer—have been painted on the outside, causing the pavilion to look like a party hat. There’s an overriding sense of fun. But the kaleidoscopic baptism doesn’t end there. The giant party hat sits on four five-and-a-half-feet-wide bright red concrete columns—unpolished and raw, they rise up from the earth. A pink elevated walkway traces the structure’s perimeter, and a blue timber internal support structure keeps it all up. “Our work is very Euro-centric, Yinka’s is very West African,” Price explained. “We wanted to mix the two.” Ilori and Pricegore drew upon two precedents: an image of men carrying a thatched roof in West Africa and caryatids in Athens supporting the Parthenon's entablature. “Building in landscape, we wanted to lift the structure off the ground and retain the open sense of a garden,” added Gore. The pavilion, with its 1,560-square-foot base, is open on all four sides. Circles and triangles may adorn the exterior, but the square was most important to Pricegore, who deemed the shape essential to maintaining the structure's relationship to the adjacent Soane-designed gallery. Soane used a strict orthogonal regime to conceive the gallery's plan. So, too, has Pricegore, although the firm has offset the pavilion 45 degrees to the gallery to create a more welcoming dialog to visitors, allowing the various colors of the louvers to gradually change upon approach. Gore continued: “The pavilion is accessible to everyone. A child can enjoy this as much as an art critic.” The Colour Palace is the result of a partnership between the Dulwich Picture Gallery and the London Festival of Architecture. The pavilion is open to the public until September 22, 2019.View this post on Instagram
Colour Palace Inspiration : This image was part of my early inspiration and mood board when working on the Colour Palace in collaboration with PriceGore. Loved how the shop owners had beautiful curated and designed their shop, as if it was a mini Dutch wax pavilion 🌈🌈🌈 🇳🇬 @dulwichgallery @londonfestivalofarchitecture
Posts tagged with "Sir John Soane Museum":
What if, when on his Grand Tour, John Soane didn’t go to Italy, but to West Africa? What if, instead of going to Venice, he went to Lagos? This was the question Dingle Price, co-founder of London studio Pricegore, posed when pitching the idea for a pavilion adjacent to the Dulwich Picture Gallery, the oldest purpose-built gallery in England, designed by Soane. The result is The Colour Palace, a gloriously colorful timber structure that nestles between Soane’s 202-year-old building and a residential street. Price and fellow Pricegore cofounder Alex Gore do not hail from West Africa. Such inspiration came from artist and designer Yinka Ilori, who collaborated with the studio for the project. Now based in London, Ilori drew upon markets in Lagos where he was raised. “I wanted to encapsulate the memory of color I have from those markets,” Ilori told AN. “Selling fabrics, color was everywhere.”
This lecture examines the Grand Tour as a site of origin for the Picturesque, the aesthetic category that would come to dominate landscape representation in Britain by about 1800. It offers a link between the European grand tour and that made by Joseph Banks and James Cook – a world tour. It also highlights Frederic Church as both an artist and world traveler. The lecture moves on to make the unusual claim that we can trace a range of similarities between paintings made by British artists in Italy, and those made after 1788 by a less privileged category of image-makers – the prisoners held in the British prison colonies of Australia, who produced an distinctive, antipodean form of Picturesque landscape. The lecture concludes by arguing that global grand tours of American painter Frederic Edwin Church continued this tradition and brought it to a climax. Tim Barringer is Paul Mellon Professor of the History of Art at Yale University. He specializes in the eighteenth-, nineteenth- and twentieth-century art of Britain and the British Empire, nineteenth-century American and German art and museum studies.
The Berlin architect Karl Friedrich Schinkel visited London in 1826, traveling in the company of his colleague Peter Beuth. They stopped over in Paris, then travelled on to Scotland before putting in a few weeks in London on their way back home. Schinkel’s candid observations and his attempts to meet important people left a record of London life –theatrical, musical, and scientific– and architecture in which Sir John Soane’s name looms large although the two never met. A comparison of Soane’s and Schinkel’s ideas about architectural education lends sharper definition to their affinities and differences. Other travelers from the Continent, such as Prince Pückler Muskau, the landscape architect in search of an heiress, added intrigue, the composer Carl Maria von Weber had arrived to conduct his opera Oberon, and the French writer Stendhal temporarily resided in London. Preoccupations with the development of the city and the social strain caused by poverty signaled a future soon to rear its head in Germany. Schinkel was perhaps less impressed with English architecture than he was with landscape, manufacture, and public entertainment, but he never forgot his brush with a true metropolis. Kurt W. Forster is Professor Emeritus, Yale School of Architecture. He has also held professorships at Stanford University, Massachusetts Institute of Technology, Federal Institute of Technology (ETH) Zurich, and the Bauhaus University Weimar. He directed the Swiss Institute in Rome, the Canadian Centre for Architecture in Montreal, and the Getty Research Institute (Los Angeles). He recently published Schinkel: A Meander Through His Life and Work (Birkhauser, 2018).
The London Design Festival 2018 is underway and with it comes a host of events and exhibitions to enjoy. Building on last year, this year's festival is awash with an array of colorful installations and exhibits. The Architect's Newspaper took a look at the best to give a lowdown of what to catch in London this week. Out of Character: A Project by Studio MUTT At: Sir John Soane's Museum Exhibiting at Sir John Soane's Museum must be both a dream and a nightmare. It is easily one of, if not the most, exquisite interiors in London and seldom do the exhibits manage to shout over the building they inhabit. Before Studio MUTT had a stab, Return of the Past: Postmodernism in British Architecture was on view and Out of Character seemingly follows from it, embodying the colorful virtues allied with the current PoMo revival. In 1812, Sir John Soane imagined that in the future, those discovering his former home would presume that it was once occupied by four characters: a Lawyer, a Monk, a Magician, and an Architect. More than 200 years later, Studio MUTT realizes these characters architecturally, with each being defined by ornamental color and form. The architectural compositions can be found at different locations around the museum. Not only do they demonstrate the communicative capabilities of color and ornamentation, they work with the museum—each has been designed for its specific location—to produce delightful moments of architecture in conversation. Mind Pilot by Loop.pH At: London Design Museum A mind-powered hot air balloon is floating around the London Design Museum. Via a virtual reality headset, visitors can control the helium-filled balloon, dubbed an "airship" by its designers Loop.pH, while suspended in a sling to amplify the sensation of flight. How does it work? With the aid of electrodes the headset is attached to the pilot's head, which is then hooked up to a computer. Brain signals and pulse are translated into directions which are sent to robotics within the balloon, moving it around the Design Museum's central lobby mezzanine. Visitors are prohibited from going too crazy thanks to a frame which the balloon is tethered to. Alphabet by Kellenberger-White At: Finsbury Avenue Square, Broadgate Broadgate by Liverpool Street hosted a dazzling display from artist Camille Walala in 2017. This year's installation, a series of alphabetic chairs from designers Kellenberger-White, is toned down a notch, but still provides transient bankers with a much-needed dose of play. The 26 chairs can (of course!) be sat on as well as be used to form words. Each chair is in a different color, selected from specialist paint producers used for projects involving industrial metalwork. Colors such as "International Orange," used for San Francisco’s Golden Gate Bridge, and "Cornflower Blue," the color of Middlesbrough’s Transporter Bridge, have been used. The project comes from Kellenberger-White's investigations into folded metal and draws influence from the Bauhaus, notably László Moholy-Nagy, Marianne Brandt, and Wilhelm Wagenfeld. MultiPly by Waugh Thistleton Architects At: The Sackler Courtyard, Victoria & Albert Museum British architecture firm Waugh Thistleton Architects has collaborated with engineers Arup and the American Hardwood Export Council to create MultiPly, a series of stacked timber Minecraft-like modules. Using 60 cubic meters of American tulipwood as cross-laminated timber (CLT), MultiPly aims to exhibit the benefits of modular architecture and the possibilities it provides. Staircases and walkways knit together the series of CLT boxes, creating a 3-D maze-like experience. MultiPly is carbon neutral. Carbon emitted through creating MultiPly (timber extraction, processing, transportation, and manufacture) was offset by the carbon stored in the timber and the potential energy from its incineration. The best thing about the project, though, is the view you get of Amanda Levete's design for the V&A courtyard: a chance to see the project from a bird's eye view and almost in plan, which is a satisfying experience. Living Unit London by AKT II and OFIS Arhitekti At: Old Street Yard, Shoreditch Micro-living hopefully isn't the solution to London's housing crisis, but London engineers AKT II and Slovenian studio OFIS Arhitekti's study into temporary micro-sized dwellings fuels debate on the subject and the minimum space requirements for inhabitance as well as how to arrange such spaces efficiently. Composed as three stacked volumes, each measuring 14.7 by 8.2 by 8.8 feet, Living Unit provides a kitchen, bathroom, bed, and seating, supplying accommodation for two people. Like Waugh Thistleton Architects' MultiPly, the project is modular, meaning units for a kitchen or bed can be easily added and taken away. Modules can connect vertically and horizontally, able to create space for four-to-six people. On their own, units can serve as a retreat, easily used as tree-house, holiday cabin, or hideaway. Living Unit is currently being auctioned off on eBay with the proceeds going to The Architecture Foundation. The Institute of Patent Infringement by Los Carpinteros At: Victoria & Albert Museum Since 2010, Amazon has filed 5,860 patents. That's 732 every year. The Institute of Patent Infringement looks at these and hints a bleak digital future shaped by excessive patenting. The Institute exhibits the work of students, industrial designers, architects, urban planners, artists, programmers, and the wider public, which is invited to merge, reimagine, infringe, and hack existing Amazon patents. Traveling up from the Venice Architecture Biennale, the exhibition is housed within a timber latticed globe designed by artists collective, Los Carpinteros. Under the worrying overtone of Amazon's digital hegemonic ambitions, The Institute of Patent Infringement is laced with humorous proposals that delve into the absurd.
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.
“Welcome to Explore Soane. The historic house, museum, and library of 19th-century architect Sir John Soane—now made digital. Get closer than ever before to its fascinating objects and see its eclectic rooms in a new light.” These words welcome viewers as they enter the new digital model of the Sir John Soane’s Museum, recently launched by ScanLAB Projects. Sir John Soane was a noted 19th-century British architect who passed away in 1837, leaving behind not simply a home, but a museum of architectural curiosities for posterity. Established by Private Act of Parliament in 1833, the house-museum has been kept just as Soane left it at the time of his death, continuing to offer free access to visitors as he had intended. Safeguarded by its Trustees, the museum hosts exhibitions, events, and a research library. The Sepulchral Chamber. (Via explore.soane.org) The museum's digital model offers visitors the choice to begin their journey in the Model Room or the Sepulchral Chamber. The Model Room includes models of historical architectural sites such as Temple of Vesta (made from cork), Temple of Vesta (made from plaster) and a Model of Pompeii, showing the city in 1820. The replica of the room features individual, digitized models available for download. The interactive elements of the room also include fact sheets for models in Soane’s collection, which can be found upon clicking on each model. As viewers move on to The Sepulchral Chamber, they can find interactive models of an ancient Egyptian Sarcophagus King Seti I and Sarcophagus Detail. This portion of the journey also provides fact sheets and an about page for items in the chamber. ScanLab Projects is a creative studio that works to combine 3-D technologies and large scale scanning with the architectural and creative industries, creating digital replicas of buildings, landscapes, objects, and events. They offer 3-D printing, 3-D scanning, and visualization services to digitize the world in captivating ways. ScanLAB Projects also plans to add more rooms and works of art to the model.
Tuesday evening's John Soane's Museum gala was a great evening for the assembled supporters of the London museum on Lincoln's Inn Fields. It started when Soane Board President Thomas Klingerman asked the audience "How many of you read The Architect's Newspaper?" You probably saw the Eavesdrop column on Jay Z and Beyonce visiting Cuba on a Soane architecture tour (their itinerary included landmarks by architect Miguel Coylua, among others). Things are really changing at Soane! After the irrepressible Suzanne Stephens opened the program awards, inscribed Soane Foundation medallions were given to Carole Fabian, director of Avery Architecture & Arts Library at Columbia, and Barry Bergdoll for their joint acquisition of the Frank Lloyd Wright Archives. The award was presented by the architectural theorist Catherine Ingraham, who talked about her maternal grandfather Frank LLoyd Wright and his meaning to her family and architectural culture. In accepting the award, Fabian talked about the enormous organizing challenge of the huge archive and Bergdoll told the story of Wright introducing Mies van Der Rohe to a Chicago audience. In front of the crowd, Bergdoll said "I want to introduce you to Frank Lloyd Wright without whom there would be no Mies Van der Rohe!" A second award was given to Lord Norman Foster of Thames Bank by Paul Goldberger, who is finishing a book on Foster and compared his career as an architect and collector to Soane, though one with his own private airplane! Foster, for his part, woke up yesterday in London, visited the Soane Museum, then lunched with the Queen and piloted his plane to New York.
Green Boom. Blair Kamin takes a look at the sustainability of two billowing icons in Chicago and New York. Studio Gang's Aqua Tower is going for LEED certification while Frank Gehry's New York tower will not seek the USGBC's approval but claims to be green nonetheless. Kamin notes the importance of such moves, saying of Gehry: "What he, in particular, does--or doesn't do--can have enormous influence, not simply on architects but on developers." Trolley Boom. NPR has a piece on the explosion of streetcars across the country with planned or completed systems in over a dozen cities. Bike Boom. Cycling advocate Elly Blue discusses a new study on Grist stating that bikes deserve their own infrastructure independent from autos. And not just a striped bike lane, Blue notes, but separated lanes called "cycle tracks" like one installed along Brooklyn's Prospect Park West. Soane Boom. The Independent reports on a planned renovation to the Sir John Soane Museum in London, that architect's treasure trove of antiquities and architectural memorabilia from across the world. Plans include opening up a new floor that hasn't been open to the public since Soane died in 1837.