High-rise tower blocks, prefab panel housing estates, streets in the sky, new towns; some of the concrete constructions that once shaped the cityscapes of post-war Britain have stood the test of time, while others are long gone.
‘Brutal Britain’ by Zupagrafika (also author of ‘Brutal London’) celebrates the brutalist architecture of the British Isles, inviting readers to explore the Modern past of Great Britain and rebuild some of its most intriguing post-war edifices, from the iconic slabs of Sheffield`s Park Hill and experimental tower blocks at Cotton Gardens in London, to the demolished Birmingham Central Library.
A historic hotbed of architectural styles and a current architectural capital of the world, cities in the United Kingdom are awash with iconic buildings from the Georgian, Neoclassical, and contemporary era. Such buildings, from the Clifton Suspension Bridge in Bristol to the Southbank in London, have come to define the cities in which they stand, drawing the eyes of tourists and designers alike from around the world.
It is therefore an interesting exercise to examine what these cities would look like if such structures didn’t exist. To this end, Neomam Studios has partnered with QuickQuid to produce a series of images demonstrating what six British cities could have looked like, resurrecting some of Britain’s most surprising unbuilt structures.
https://www.archdaily.com/907301/what-6-british-cities-could-have-looked-likeNiall Patrick Walsh
David Chipperfield Architects have released new details of their proposed IMPACT Centre in Edinburgh, Scotland. Addressing the need for a purpose-built, medium-sized performance venue in a city of profound cultural heritage, the scheme will serve as a base for the Scottish Chamber Orchestra with a main, 1000-seat auditorium.
Situated in Edinburgh’s UNESCO World Heritage Site, the scheme will replace an existing office building to become the first dedicated new space for music and performing arts in the city in 100 years. The scheme seeks to “form an urban composition centered around Dundas House,” a 1771 Grade-A listed civic building whose rear façade abuts the proposed scheme.
The team led by US-based architects wHY has been selected as the winner of the Ross Pavilion International Design Competition, beating out proposals from Adjaye Associates, BIG, Flanagan Lawrence, Page\Park Architects, Reiulf Ramstad Arkitekter and William Matthews Associates + Sou Fujimoto Architects.
Featuring an international collaboration of architects, engineers and creative agencies – including Edinburgh-based design studio GRAS, Groves-Raines Architects, Arup, Studio Yann Kersalé, O Street, Stuco, Creative Concern, Noel Kingsbury, Atelier Ten and Lawrence Barth – the team envisioned a rolling terrain for the West Princes Street Gardens site that the jury lauded as both exciting and respectful of its historic setting.
Architecture occurs within a multiplicity of varying contexts, arrangements and expressions. It can be deployed for the greater good and harnessed for singular enrichment. It can be activated to induce joy and utilised to encourage fear. It can be programmed to provide the infrastructural genesis of further activity and applied as final conclusive decoration.
Detailed visions of the concept designs from the seven shortlisted teams in the running for the new Ross Pavilion (named for William Henry Ross, the former chairman of the Distillers Company) have been released. Following the announcement of the competition earlier this year—in which the likes of Adjaye Associates, Bjarke Ingels Group, Sou Fujimoto Architects and Reiulf Ramstad Arkitekter were placed in the running alongside local practices, such as Page\Park—the sensitivity and level of restraint behind the majority of the proposals demonstrates the public and national significance of the site, which sits at the heart of the Scottish capital of Edinburgh.
The Ross Development Trust in collaboration with the City of Edinburgh Council and Malcolm Reading Consultants has launched a global search for an outstanding team of architects, landscape designers, engineers and other specialists for the new circa £25m Ross Pavilion and Gardens project in the heart of Edinburgh.
The Ross Pavilion International Design Competition will award the commission to regenerate and renew an emblematic site at the heart of West Princes Street Gardens, which is presently occupied by the Ross Bandstand.
The International Music and Performing Arts Charitable Trust Scotland (IMPACT Scotland) has announced a shortlist of 6 teams in the running to design a new concert hall and arts center in the heart of the Edinburgh New Town World Heritage Site. The building, estimated to cost up to £45 million ($57 million USD), will house a 1,000 seat auditorium that will become the new home of the Scottish Chamber Orchestra.
From 69 expressions of interest in the competition, six teams have been selected by IMPACT Scotland’s judging panel as finalists for the commission. The firms are as follows (in alphabetical order):
Last week, Richard Murphy Architects’ ‘Murphy House’ in Edinburgh was named the Royal Institute of British Architects’ 2016 RIBA House of the Year. Built into a hillside lot, the unusual site presented the architects with the opportunity to play, loading the house with an assortment of clever architectural details and mechanics, including a hidden bath in the master bedroom, folding walls, sliding bookshelf ladders and operable clerestory panels.
To capture all these moving parts in their full effect, the architect himself created a video walkthrough of the house. Check it out below.
https://www.archdaily.com/801908/inside-the-murphy-house-ribas-2016-house-of-the-yearAD Editorial Team
Edinburgh-based studio, Konishi Gaffney Architects, has won the competition to design a temporary pavilion for the Pop-Up Cities Expo. The Pop-Up Cities Expo is a headline event at Scotland’s Festival of Architecture, featuring pop-up pavilions at Mound Square from cities around Europe. Konishi Gaffney will be representing Edinburgh – the host of the expo - with their winning pavilion design.
"A spectre," writes Kevin McKenna for The Guardian, "thought happily to have been exorcised from the heart of beautiful Edinburgh, is stalking the city’s old wynds and crevices once more." To put it more bluntly, the "formal recognition of [the Scottish capital] as one of the world’s most beautiful cities is under threat, amid a battle for the soul of its most historic quarter." As the UNESCO inspectorate moves in to determine whether the city's World Heritage Status should be renewed McKenna laments, through a series of case studies, the potentially bleak built future of one of Britain's most loved urban centres.
Arguably there are only two architects in history that have become almost completely synonymous with one particular city - Charles Rennie Mackintosh for Glasgow and Antoní Gaudi for Barcelona. Indeed, a Catalonian architect, Enric Miralles, designed the Scottish Parliament Building in Holyrood, Edinburgh. The fact that both of these cities are part of large enclaves who are seeking, or have sought, independence is perhaps just a coincidence. Architecture, often used as a symbol for the identity of nationhood, will certainly be part of a wider dialogue about the Union of the United Kingdom following yesterday's referendum.