Posts tagged with "United Kingdom":
It had to be the right one, with the right set of circumstances. It’s often the case that the idea is there, in sketch form in my mind, waiting to be fully realized. It can take years for those ideas to find a home, and there are hundreds more still waiting. In this case, the site was originally a tannery and wool processing factory so there is a historical association with textiles. I like the fact that the building is so archetypal. I had school lessons in a building just like it and that sense of familiarity is one of the things that I like to subvert. I think we’ve all got a relationship with a building like this, somewhere in our past, so that imbues the work with personal meaning. Its position, right by the road, close to the post office, the council offices, the probation center and the leisure center means that people of all ages and from all walks of life will see it.
According to the artist, Open to the Public will remain 'open' until the end of August, "at least."
On April 19, for the afternoon keynote of The Architect’s Newspaper’s Facades+ conference in New York, architect Ian Ritchie discussed his decades-long involvement in forward-looking glass architecture. Beginning with the tongue-in-cheek statement, “Glass is the answer; what was the question?” the British architect detailed the technological specifications and design considerations behind his projects. Ranging in size from personal residences to convention centers, the projects convey his expertise with manufactured materials.
As head of his own practice, Ian Ritchie Architects, Ritchie’s process is influenced by a range of fields, from neuroscience to poetry.
Ritchie began with one of his earliest projects, the self-constructed Fluy House (1976). Composed of a prefabricated set of materials, including a lightweight steel frame and pre-cast concrete floor slabs, Ritchie described his early curtain wall as “glass acting as a windbreaker,” a thin protective barrier between shelter and the site’s surrounding countryside.
Ritchie also described projects he worked on as a founding partner of the engineering firm, RFR Engineers. For example, he talked about unique projects such as engineering I.M Pei’s Louvre Pyramids, which entailed the creation of a full-scale Kevlar mockup and the use of "phantom fixing” to insure the transparency of the glass structure’s final design.
Next, in talking about the design of Reina Sofia Museum of Modern Art’s circulation towers and the Messe-Leipzig Glass Hall, Ritchie described how unique engineering devices such as externally suspended and grid-worked glass panels bring the tectonics of design and engineering into public view while creating open and accessible spaces.
In line with his firm’s straightforward forms, Ritchie was critical of the contemporary trend of hyper-engineered glass facades with multiple curves and contortions, asking, "Is architecture intelligence or indulgence?" Instead, he emphasized the natural, biological forms that influence his creative process and, ultimately, his firm’s output.
Ritchie’s drive to bridge the highly technical, manufactured character of glass with natural objects and processes was also highlighted by his presentation of the firm’s recently completed, 150,000-square-foot Sainsbury Wellcome Center.
Located in London’s Fitzrovia, a central city district surrounded by architectural conservation areas predominantly comprised of Georgian architecture, Ritchie saw the Sainsbury Wellcome Center as a “melting ice block spilling into the surrounding neighborhood." To fulfill this analogy, the firm opted for translucent cast glass with vertical, corduroy-like detailing that imitated the stone rustication and brick-and-mortar facades of the surrounding area.
Ritchie concluded with a call for architects to recognize that current glass design and architecture may be surpassing contemporary engineering capabilities. In his view, too many architects are acting as sculptors, an approach that will fail to “make glass warm and haptically friendly” to the public.
This is very clearly a building which, as Historic England recommended, should be listed: It is a superb example of 1960s university architecture, in which Britain led the world. Even the university's own argument that it is too expensive to repair falls down on the fact that it will cost a good deal more to replace it with anything worth having. I can't understand why the DCMS has decided to overturn the advice of the experts at Historic England, and their statement does nothing to answer the question. Dunelm House is an exceptional piece of Modern architecture—sensitive yet bold, original yet full of rich references to the great architecture of its period... If the university thinks it can get half so good a new building on the same site for less than the cost of repairing Dunelm House it's living in a dream.Christopher Beanland, author of Concrete Concept: Brutalist Buildings Around the World, also gave his thoughts on Dunelm House:
Clearly, it's a significant building that works in its surroundings. You look at it and initially think - yes it's aggressive, yes it's attention seeking, yet that part of the River Wear is a very peaceful place and the more time you spend there watching the students on bikes or in boats the more it seems friendly.A petition to help save the building is available online here and naturally, there is a "Save Dunelm House" Twitter page.
The Park Hill housing project in Sheffield, U.K. has suffered a turbulent, roller-coaster ride since its completion in 1961. Now a listed building—the largest protected building in Europe in fact—Park Hill has been subject to scorn and adoration from politicians, architects, artists, musicians and residents. Park Hill is currently being renovated by developers, Urban Splash, who this month, announced that the project will finally be completed by 2022.
In 1945, British architects Jack Lynn and Ivor Smith began designing Park Hill; they drew from on Le Corbusier's Unité d'Habitation and Peter and Alison Smithson's unbuilt 'streets in the sky' concepts. Upon completion, Park Hill had a warm reception, receiving praise from the likes of Reyner Banham along with positive articles in national newspapers such as The Telegraph, The Times and The Economist.
Writing for the Architectural Review in December, 1961, Banham said:
Park Hill seems to represent one of those rare occasions when the intention to create a certain kind of architecture happens to encounter a programme and a site that can hardly be dealt ‘with in any other way, and the result has the clarity that only arises when - as in the Villa Rotonda - aesthetic programme and functional opportunity meet and are instantly fused. But what Park Hill abundantly demonstrates is that there are other kinds of architectural clarity besides the Classical.
By the 1980s, however, the area had become notorious for attracting trouble. Flats had become rundown and Park Hill was synonymous with drugs and crime with this being down to a number of complex reasons including "poor management, deindustrialisation and better council housing stock in other areas of the city." Sheffield City Council then decided to award the estate—as public housing projects are known in the U.K.—protective Grade II Listing status in 1997. The move proved controversial among locals and the general public alike.
Four years later, a bridge within the complex was infamously vandalized by a man only known as Jason (not this author.) His painted message of "I LOVE YOU WILL U MARRY ME,"* scrawled in white and visible for miles, stirred journalist Frances Byrnes to eulogize it as "love yelling at the top of its voice in an estate thought to be desolate." Upon first sight of the message in 2001, estate caretaker Grenville Squires remarked: "How are we going to get that off?" Squires never found a way. Unbeknown to Jason, his work was later showcased at the 2006 Venice Biennale. Now, the vandalism-cum-artwork has found permanency through British architecture firms Hawkins\Brown and Studio Egret West. They're working with Urban Splash to trace and illuminate the text with neon lighting.
Cut to today: Urban Splash said that, after agreeing on a timeline with city officials, their ongoing work on Park Hill is due for completion in 2022. The work will continue with the gutting of the concrete structure and with the installation of new apartments. "This is great news for us and for Sheffield, we can now fulfill our ambitions for the project," said Simon Gawthorpe, managing director of Urban Splash, who later added how the recession had caused delays to the project.
In 2013, work on Park Hill was one of six projects up for the RIBA Stirling Prize. Approximately 600 people now live and work in renovated Park Hill units and, by the project's conclusion, the it will contain 210 apartments and 330 student housing units. Also funding the scheme are the Sheffield City Council, Great Places Housing Group, and national conservancy group Heritage England.
Despite Park Hill's success, the Robin Hood Gardens estate in south east London has not enjoyed a similar fate. Designed by the Smithsons and built in 1972, the project saw the realization of the Smithson's streets in the sky project (on their own terms). The building, however, even after campaign work from Zaha Hadid and Richard Rogers, is due for demolition having been refused Listed status by Heritage England.
*For the record: Jason's then lover, Clare Middleton, said yes but the couple didn't marry, splitting a month later. More on the story can be found here.