Southwark planners have recommended an ambitious proposal by international practice Kohn Pedersen Fox (KPF) and engineer Adams Kara Taylor (AKT II) to add 11 floors to an existing 30-story tower in London. The “incredibly complicated” feat, which would be the world’s first of its kind, would extend Richard Seifert’s 1972 King’s Reach Tower on the South Bank by 44 meters, more than a third its original height.
The Southbank Centre and Feilden Clegg Bradley have taken their designs back to the drawing board, deciding to delay their planning application in order to resolve the mounting issues surrounding the proposal.
The designs to update the brutalist cultural centre have divided people from the start; however, the tide of opinion seems to have definitively shifted away from the design due to a sustained campaign by skateboarders (who make use of the undercroft) and now criticism from the neighboring National Theatre and the UK design council CABE.
Read more about the controversy surrounding the Southbank Centre after the break…
The Design Museum in London has confirmed that Zaha Hadid has purchased their original building, which they’ve called home since 1989, just over a year after placing a bid with a private backer. According to the Architects’ Journal, Hadid will use the building to house her practice’s archive as well as serve as an occasional exhibition space. “The building will give an opportunity to consolidate our archive in a single location,” she said, “and also engage in a collective dialogue by exhibiting the research and innovation of global collaborations in art, architecture and design.”
The All England Lawn Tennis Club has just unveiled this design proposal for the Wimbledon Master Plan developed by Grimshaw Architects, with top UK landscape architecture firm, Grant Associates. Marking the first step in a consultation process, the vision reflects and reinforces the long history of The Championships while further enhancing Wimbledon’s position as the premier Grand Slam tennis event. More images and architects’ description after the break.
Architects: Rogers Stirk Harbour + Partners
Location: London, England, United Kingdom
Structural Engineer: Arup
Landscape Architect: Edco Design London
Client: The British Land Company plc
Area: 84,424 sqm
Photographs: Courtesy of Rogers Stirk Harbour + Partners, Courtesy of The Leadenhall Building Development Company
Rogers Stirk Harbour & Partners’ Leadenhall Building became the tallest building in the City of London when it topped out on June 18th. The 50 story tower opposite Lloyd’s of London rises to a height of 224.5 meters 802 feet), its slender form creating its own distinctive profile within an emerging cluster London. The building’s tapering profile is prompted by a requirement to respect views of St Paul’s Cathedral, in particular from Fleet Street. The building comprises a number of distinct architectural elements that provide clarity to the composition both as a whole and as a legible expression of its constituent parts. These elements include the primary stability structure, the ladder frame, the office floor plates, the northern support core, the external envelope and the public realm.
More images and video of The Leadenhall Building after the break…
Focusing on key projects and using previously unseen archival material, drawings and personal items, the ‘Richard Rogers RA: Inside Out‘ exhibition will explore Roger’s career, from the influence of his Italian family to his impact on how we experience cities today. From July 18-October 13 at the Royal Academy of Arts in London, visitors will gain an unprecedented insight into this leader of modern design. This blend of political, social and ethical concerns, as well as popular culture, technology, art and urbanism is manifest not only in his architecture, but also in his roles as a speaker, writer, politician and activist. For more information, please visit here.
Dazzling viewers with its “tron-like landscape of infinite white,” as described by Guardian critic Oliver Wainwright, Sou Fujimoto’s Serpentine Pavilion in Hyde Park is arguably “one of the most radical pavilions to date.” The 350 square-meter latticed structure melts into its surrounding by fusing together the man-made and natural world, creating a lush, semi-transparent terrain in which transforms into a variety of seating, steps and side tables that complement its interior coffee bar (view more images here).
Featured here are photos of Sou Fujimoto‘s 2013 Serpentine Gallery Pavilion taken by Danica Kus. Capturing the semi-transparent, multi-purpose social space situated in London, this delicate, three-dimensional structure is enjoyed by its visitors, creating an inviting social setting.
Fujimoto, the youngest architect to accept the Serpentine Gallery’s invitation at 41, describes his work as, “…a transparent terrain that encourages people to interact with and explore the site in diverse ways. Within the pastoral context of Kensington Gardens, I envisage the vivid greenery of the surrounding plant life woven together with a constructed geometry. A new form of environment will be created, where the natural and the man-made merge; not solely architectural nor solely natural, but a unique meeting of the two.” More images by Danica Kus after the break.
With the opening of his cloud-like gridded structure in Hyde Park last week, Sou Fujimoto became the youngest architect in the pantheon of Serpentine Gallery Pavilion designers. The pavilion is an annual commission for a temporary structure, always given to a well known architect who is yet to build in the UK. In previous years the commission has been awarded to Herzog & de Meuron with Ai Weiwei (2012), Peter Zumthor (2011), Jean Nouvel (2010), SANAA (2009), stretching back to the original pavilion designed by Zaha Hadid in 2000.
With such a prolific history of star designers over the past 13 years, Fujimoto’s ethereal design has a lot to live up to. But despite these high expectations, architecture critics have been gushing over the new design. See a full round-up of opinions after the break…
The pavilion, which has already gotten the “cloud” nickname because of its shape and lightness, is generated through a three-dimensional steel grid of about 40 centimetre modules which morphs on each side. The structure is broken to allow people access as well as to generate different uses around, below and upon it.
More pictures and the architect’s statement after the break.