Architects have been invited to submit expressions of interest in designing The Crystal Palace as a new cultural destination for London in the spirit, scale and magnificence of the original. Plans to invest £500 million in rebuilding The Crystal Palace and restoring the surrounding public park were announced in October by ZhongRong Group, with the support of the Mayor of London and the Bromley Council.
The new culture-led exhibition and employment space will sit at the top of the 180-acre Crystal Palace Park in south London. It will incorporate the listed Italian style terraces, and other Victorian heritage within the park, fully restored for the public. The project is expected to create more than 2000 permanent and temporary jobs as well as attracting wider investment into the local high streets and the wider economy.
Earlier this month, Feilden Clegg Bradley Studios released new images of the Southbank Centre, the most detailed renderings yet of the highly controversial redevelopment. Among the most significant alterations are a change to the exterior of the crowning glass box, a slight reduction in the size of the "liner" building (to preserve views of the Houses of Parliament from the neighboring National Theatre), and adjustments to various columns to preserve routes through the site.
Read on to find out more about the changes to the design..
Herzog & de Meuron's Residential Tower. Image Courtesy of Canary Wharf Group plc
London firm Allies and Morrison has submitted planning applications for a 9.23 hectare, mixed-use development east of London’s Canary Wharf. Dubbed “Wood Wharf,” the new neighborhood will include upwards of 3,000 homes, 240,000-square-meters of commercial office space, 100 retail outlets, hospitality and more - all interconnected by a 3.6 hectare network of public space.
A 56-story, cylindrical skyscraper designed by Herzog & de Meuron will be one of three residential buildings planned for the scheme’s first phase, designed in collaboration with Stanton Williams. Allies and Morrison, who provided the revised masterplan for Canary Wharf Group, will design the first two office blocks targeted at technology-based companies.
The Royal Institute of British Architects (RIBA) has announced the President’s Medals Student Awards at a special event in London. The awards, known to be the world's most prestigious awards in architectural education, were inaugurated in 1836 and are therefore the institutes oldest award (even older than the RIBA Gold Medal). Three medals - the Bronze for a Part I student, the Silver for a Part II student, and the Dissertation Medal - are awarded to "promote excellence in the study of architecture [and] to reward talent and to encourage architectural debate worldwide."
Around 300 schools of architecture from over 60 countries were invited to nominate design projects and dissertations by their students, of which students of the Bartlett School of Architecture at University College London won all of this year's primary awards.
Highly Commended: Accomodations for the Oceanological Observatory of Banyuls-sur-Mer by Atelier Fernandez & Serres. Image Courtesy of The Architectural Review
The winners of the 2013 AR+D Awards for Emerging Architecture have been announced! The awards, presented by The Architectural Review and now in its 15th year, have seen "projects from locales as diverse as Bloomsbury and the Himalayas." This year over 350 entries were discussed by four esteemed judges, including Sir Peter Cook, and have led to four winners who will share a prize fund of £10,000. See both the four winning entries and the ten highly commended schemes after the break...
Crossrail, "the largest infrastructure project in Europe, costing more, for example, than the London Olympics", has been slowly winding it's way beneath London for years. Getting access to the labyrinthine collection of underground tunnels and volumes, Rowan Moore of The Observer says that - despite the superficial furore surrounding it - this £5 billion undertaking will eventually be worth it: alongside the tunnels and tracks will be three million square feet ("or about six Gherkins") of commercial development, and one million square feet of 'public realm'.
In this article for The Guardian, Oliver Wainwright reviews Chobham Academy, a new school built as part of East London's Olympic Legacy by architects AHMM. While he finds the school impressive and ambitious, Wainwright questions whether the campus, which acts as the 'fulcrum' between the poverty-stricken streets of Leyton and the high end flats of the former Athlete's Village, will be able to bring the two parts of this community together. You can read the full article here.
London's Tate Britain, a partner gallery to the Tate Modern (who recently appointed Herzog & de Meuron to design a new extension), recently unveiled Caruso St. John's transformation of the oldest part of the iconic Grade II* listed Millbank building. The £45 million project to restore, renovate and reinterpret one of the UK's most important galleries has been met with a largely positive critical response; read the conclusions of The Financial Times’ Edwin Heathcote, The Guardian’s Oliver Wainwright, The Independent's Jay Merrick, the RIBA Journal's Hugh Pearman, and the Architects’ Journal’s Rory Olcayto, after the break…
This four part series (originally published on Aggregate’s website) examines the Gherkin, the London office tower designed by Foster + Partners, showing how the urban icon engaged and leveraged perceptions of risk. In part one, author Jonathan Massey introduced the concept of "risk design” to describe how the Gherkin’s design managed the risks posed by climate change, terrorism, and globalization. In parts two and three, Massey examined the building’s treatment of risks associated with climate change and terrorism. In this final installment, Massey concludes by addressing the building’s engagement with risks posed to the City of London by globalization.
Unlike New York and other cities in which zoning codes entitle landowners to some kinds of development “as of right,” the City of London regulates property development through case-by-case review by planning officers, who judge how well the proposed construction conforms to City-wide plans and guidelines regarding factors such as building height, development density, access to transit, and impact on views and the visual character of the area. In order to develop the Gherkin, the property owners and Swiss Re had to secure planning consent from the City Corporation through its chief planning officer, Peter Wynne Rees. The review and permitting process that culminated in the granting of planning consent in August 2000 spanned the planning office as well as the market, the courts, and the press. Rees brokered a multilateral negotiation so intensive that we could almost say the building was designed by bureaucracy. Part of that negotiation entailed imagining and staging risk: climate risk, terrorism risk, and, especially, the financial risks associated with globalization.
Five architect and landscape architect-led teams have been shortlisted to redesign and re-imagine the grounds of London’s world famous Natural History Museum. The major project will aim to “create an innovative exterior setting that matches the architectural excellence of the iconic 19th Century site, whilst ensuring that the Museum grounds are easily accessible to all visitors.”
Without further ado, the leaders of the five teams are:
This four part series (originally published on Aggregate’s website) examines the Gherkin, the London office tower designed by Foster + Partners, showing how the urban icon engaged and leveraged perceptions of risk. In part one, author Jonathan Massey introduced the concept of "risk design” to describe how the Gherkin’s design managed the risks posed by climate change, terrorism, and globalization. In part two, Massey examined the building’s treatment of climate risk. In part three, below, he explains how the Gherkin redesigned the risk imaginary associated with terrorism.
Mornings the Zamboni scrubs the plaza. Moving across the pavement in parallel lines connected by tight turns, the sweeper cleans the stone of cigarette butts and spilled food and beer left the night before by the underwriters and bankers who patronize the bar and shops in the building’s perimeter arcade as well as the adjacent restaurant that in fair weather sets up outdoor tables and chairs.
By pulling away from its irregular property lines, the tower achieves almost perfect formal autonomy from its context. The gap between the circular tower base and trapezoidal site boundaries forms a privately owned public space, a civic and commercial amenity in this densely built part of the City.
It's been almost two months since we revealed that the Southbank Centre had agreed to support a fundraising campaign by Long Live Southbank, the campaign aiming to preserve the skatepark in Southbank's undercroft and save it from the £120 million redevelopment of the site as a whole.
This was just one twist in a story that included criticism from the UK's design council CABE and from the neighboring National Theatre, a 50,000 strong petition from skateboarders, an unsuccessful attempt to have the skatepark listed as a village green, a successful attempt to have it classified as an 'asset of community value', and a delayed planning application.
So after all this controversy, what has happened in the last two months?
This four part series (originally published on Aggregate’s website) examines The Gherkin, the London office tower designed by Foster + Partners, showing how the urban icon engaged and leveraged perceptions of risk. In part one, author Jonathan Massey introduced the concept of "risk design” to describe how the Gherkin’s design managed the risks posed by climate change, terrorism, and globalization. In part two, below, Massey examines the Gherkin’s enclosure and ventilation systems in detail to explain how the building negotiated climate risk.
In a poster promoting London’s bid to host the Olympic Games, the Gherkin supported gymnast Ben Brown as he vaulted over the building’s conical peak. The image associated British athleticism and architecture as complementary manifestations of daring and skill, enlisting the Gherkin as evidence that London possessed the expertise and panache to handle the risk involved in hosting an Olympic Games.
But a poster created three years later offered a very different image. Created by activists from the Camp for Climate Action to publicize a mass protest at Heathrow Airport against the environmental degradation caused by air travel, this poster shows the Gherkin affording only precarious footing to a giant polar bear that swats at passing jets as its claws grasp at the slight relief offered by spiraling mullions and fins.
Having been officially in the role for only two months, Hodder spent some time with us discussing his hopes for the next two years. Find out why he described himself as a fan of Scandinavians and prog-rock after the break...
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