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keepingitneutral · 4 years ago
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The Majlis at San Giorgio Maggiore, Venice,
Inspired by nomadic architecture, the Majlis structure is designed by bamboo architects Simón Vélez and Stefana Simic.
It is wrapped in textiles handwoven in the Atlas Mountains of Morocco by a women’s collective from Ain Leuh, and the Boujad Tribe of Morocco. 
Installed in a wildflower garden at the Abbazia of San Giorgio Maggiore, imagined by landscape architect Todd Longstaffe-Gowan, that will remain once the biennale is over, the Majlis was commissioned by Caravane Earth Foundation and is curated by Dr. Thierry Morel, currently the Director and Curator-at-Large to the Hermitage Museum Foundation (USA), as well as Trustee of the Sir John Soane's Museum (London).
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moodboardmix · 6 years ago
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Richard and Su Rogers's Wimbledon House, London, England,
by Rogers Stirk Harbour + Partners
Renovations by Philip Gumuchdjian and Todd Longstaffe-Gowan
The house represented British Architecture at the 1967 Paris Biennale.” 
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livesunique · 3 years ago
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Colebrook House, Blockley, Gloucestershire, United Kingdom,
Landscape Architect: Todd Longstaffe-Gowan,
©Jason Ingram / Country Life
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beautifulbizarremagazine · 5 years ago
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#TAKEOVER Malplaquet House // 
Interior design influences both our work and personal space, and Malplaquet House is a visual source we return to again and again for ideas and inspiration. Located on Mile End Road in London, it is a Georgian landmark built in 1742 by Thomas Andrews. It was first occupied by a wealthy Jewish widow, and subsequently by brewer Harry Charrington, who drastically altered the property during his more than three decades as a resident. In the 19th century, the house hosted a number of small businesses, was home to a local union beginning in 1910, and survived, although with some damage, the London Blitz of WWII. Uninhabited for over a century, Malplaquet House was purchased in 1998 by museum director Tim Knox and renowned landscape gardener Todd Longstaffe-Gowan, and filled with objets d'art and esoterica from their own collections. The term "Maximalist" is almost an understatement when being used to describe the Malplaquet House. Why have one when you can have ten tends to be our mantra. #maximalistsforlife. 
Photo credit: @philippedebeerst . Huge thanks to today's Guest Curators Ryan Matthew Cohn and @reginamariecohn of Oddities Flea Market for sharing their art loves and inspirations with us! 
#beautifulbizarre #artmagazine #odditiesfleamarket #ryanmatthewcohn #reginamariecohn #malplaquethouse #interiordesign #oddities #fleamarket #darkart #macabre #skulls #taxidermy #reliquaries #sculpture #bizarre #gothic #anatomy #vanitas #art #culture #takeovermonday #takeover
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architectnews · 3 years ago
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15 Clerkenwell Close London Apartments
15 Clerkenwell Close London Apartments, Residential Building Development, Architecture Photos
15 Clerkenwell Close, London
16 September 2021
Architects: Groupwork + Amin Taha Architects
Location: Clerkenwell, London, England, UK
15 Clerkenwell Close London Apartments
Photos by Tim Soar
15 Clerkenwell Close London Apartments
Jury Report
15 Clerkenwell Close’s non descriptive title belies the astonishing architectural triumph that dwells at the simple address, occupying a plot of land a stones throw from Clerkenwell Green. The 7 storey building is the architect’s own development comprising one or two flats per floor, a double-height architect’s studio at basement and ground and the architect’s home on the top floor.
It is clear hearing the architect talk about the project, including a lengthy analysis of the history of the site dating back to an C11th Norman Abbey, that the thoroughness and care that has gone into every thought and every inch of the project, crossed the border of obsession very early in the process. The result is a truly bespoke, hand crafted work of art, but one that has a grace and balance suggesting that the obsession was harnessed rather than letting the madness in.
The development occupies the extent of the site appearing to have the proportions of a cube, with the facade divided into squares. A pathway along side leads to a tiny delightful urban pebble garden, belonging to the Council, but landscaped and maintained by the architect client. One of many parts to this storey where a decision has been taken that is a little unusual and not obvious but has an outcome that helps the project sparkle (for the occupants and the public).
The facade is formed from limestone structural columns and beams set back from, but structurally connected to, the building envelope with a variety of finishes: smooth, rough, drilled, straight from the quarry. The ‘fallen’ column folly with decorative carving nods to the hand crafted workmanship of the material but indicates the richness of the narrative and joy experienced throughout the project.
Entering the building over the pebbled floor, dodging the glass walk on roof lights and stepping onto the Architect Studio’s bridge feels like you have stepped into a void suspended between the basement well below, the heavy mass of the building floating above, surrounded by the neighbouring party walls exposed and celebrated. The floating glass meeting room balanced on an I beam, the folding raw metal stair with impossible hand rail angularly showing the way down to the studio space below; all sit together with different materials and characters but are connected by a similar attitude to simplicity, rawness and expression of the materials and junctions.
The residential development is anything but standard, and has a touch of childlike playfulness in the inventiveness of the various communal elements. The glass lift with innovative fire strategy doing away with lobbies, the metal grill stairwell, the roof top tree and reed garden are all unique experimentations challenging the obvious and the norm. The entrance corridor bridges through the studio like it might in a child’s imagination, a timber clad tunnel leading to a post box wall that unexpectedly swings back to reveal the possibility of a secret concierge’s office.
The flats themselves are all concrete and wood with polished floors, exposed ceilings, and oak doors and walls sliding and slotting, folding and swinging together in a complex matrix of patterns to open up or shut down different spaces like a complex puzzle. Each room leads into one another with traditional doorways, but also sliding walls to allow a route around the facade. Everything is bespoke, every detail is cared for, every junction thought through, with everything built to an impeccable finish.
15 Clerkenwell Close is brave, ambitious, highly innovative and bespoke, where risks have been taken and have paid off, resulting in a truly imaginative, intriguing and astonishing work of architecture.
15 Clerkenwell Close London, UK – Building Information
RIBA region: London Architect practice: Groupwork + Amin Taha Architects Date of completion: November 2017 Client company name: 15CC Ltd Project city/town: London Contract value: £4,650,000.00 Internal area: 2,000.00 m² Cost per m²: £2,325.00 / m² Contractor company name: JB Structures
Consultants:
Structural Engineers: Webb Yates Environmental / M&E Engineers: MLM Group Acoustic Engineers: RBA Acoustics Landscape Architects: Todd Longstaffe-Gowan Approved Building Control Inspection: MLM Building Control Quantity Surveyor / Cost Consultant : Cumming Europe
Awards:
• RIBA National Award • RIBA Regional Award • RIBA London Award
Amin Taha Architects
15 Clerkenwell Close London Apartments information / images received 160921
Location: Clerkenwell, London, England, UK
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cair--paravel · 7 years ago
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Interiors of Malplaquet House in Stepney, built in 1742. It was home to a succession of small businesses throughout the 19th century, and uninhabited for most of the 20th. In 1998, it was bought by Tim Knox (then director of Sir John Soane’s Museum) and landscape gardener Todd Longstaffe-Gowan. They restored the house and filled it with their extraordinary collection of objets d'art, busts, sculptures, paintings, taxidermy, antique furniture, and religious ornaments.
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internalisecarlohomedecor · 7 years ago
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A colourful and intriguing renovation for this 1968 house in southwest London
The Wimbledon House was redesigned by the architects Philip Gumuchdjian and Todd Longstaffe-Gowan.
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nexttoparchitects · 7 years ago
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https://teespring.com/stores/next-top-architects
Air vent in the newly restored Wimbledon House. Originally designed by architect Richard Rogers for his parents in the late 1960s, the GSD recently premiered the House for the first time since restorations by architect Philip Gumuchdjian and landscape architect Todd Longstaffe-Gowan (MLA ’84) began in 2015. #WimbledonHouse video HarvardGSD @harvardgsd
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toldnews-blog · 6 years ago
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New Post has been published on https://toldnews.com/travel/in-london-communal-garden-is-just-for-you-and-a-few-neighbors/
In London, Communal Garden Is Just for You (and a Few Neighbors)
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Most Londoners will never get the keys to the castle, but a lucky few do get the keys to a communal garden, semiprivate spaces for the exclusive use of residents with homes in surrounding buildings.
Some of these leafy spaces qualify as mysterious, almost-secret hideaways, tucked behind homes and invisible from the street. Others are tempting, well-groomed areas in plain view but cordoned off by iron railings and gates.
With the city’s once red-hot real estate market so depressed because of concerns around Britain’s possible departure from the European Union, buyers are looking for that something extra, even if access to a parklike communal garden can come with a set of seemingly random rules: Older than 12? You may not be allowed to toss a ball around.
Most of the garden squares in the English capital date to the Georgian or Victorian eras, when the city was fast expanding over fields and marshlands. But at least a few smart Londoners saw value in holding onto these patches of greenery: Many are now protected by the London Squares Preservation Act of 1931, which also limits their use to “ornamental pleasure grounds or grounds for play, rest and recreation.”
Experts say there really is no accurate count of how many are out there. The city’s last complete inventory was carried out almost a century ago, according to Todd Longstaffe-Gowan, a landscape architect redesigning the gardens of Kensington Palace and the author of “The London Square.”
“There are possibly 350 early squares (17th to early 20th century),” he said. “If one were to count communal gardens that are not called ‘squares,’ ‘crescents,’ etc., I expect the number would be closer to 600 to 700.” Some of the newer ones, he said, “are merely street widenings and excuses for the builders to inflate the asking prices that surround them, as it is still very desirable in London to live on a square.”
Ipek Muminoglu and her husband, Miray, say that having access to a communal garden has made big-city life more serene.
The couple bought their four-bedroom, 1,750-square-foot, or 160-square-meter, apartment in 2010 in a building that abuts the Canfield and Greencroft Garden in the South Hampstead Conservation Area. Mr. Muminoglu is a banker in the Canary Wharf financial district about 25 minutes away by Tube, while Mrs. Muminoglu is a stay-at-home mother.
“I was brought up in a house with a garden in Istanbul, so I had this romantic idea of getting a house with a garden,” Mr. Muminoglu said over tea in their sun-drenched salon. “But then I realized that a communal garden is the best because someone else looks after it. I wanted a garden and a balcony, and we got both.”
Their neighborhood in northwest London is a zone of multistory red brick Victorian-era single-family and subdivided homes that feature terra-cotta panels, original stained glass and decorative ironwork on balconies.
Front gardens are packed with rose and lilac bushes, and are enclosed with low walls and green hedges. It’s not uncommon to hear French, Italian or Japanese being spoken by neighbors.
Mark Rees, the sales manager for South and West Hampstead at the real estate agency Parkheath, said the area “typically will attract families and also maybe slightly older young professionals,” even in a market slowed by Brexit-related fears.
He added that many people looking for homes are requesting properties with access to a communal garden. “It’s part of the charm,” he said.
It’s also part of the price. Mr. Rees recently sold a two-bedroom apartment with access to the Canfield and Greencroft Garden that had an asking price of nearly 1.5 million pounds, or about $1.9 million.
“Any outside space here in the U.K., especially within London, is a bonus,” he said. “So having access to a communal garden would certainly push you up into the higher end of the valuation price per square foot.”
A unit that would rent for £2,000 a month without a garden would probably list for £2,500, Mr. Rees said. “There’s certainly a premium. Valuewise for a sale, add roughly £50,000.”
For the Muminoglu family, their property, built in 1886, was a compromise.
“I’m a big fan of flats rather than multistory houses,” Mrs. Muminoglu said. “He had never lived in a flat in his life. We were looking for very different things.”
But they agreed they wanted to live close to the city center.
“We knew we had to be urban,” Mr. Muminoglu said. “And it’s so important to be where friends can stop by.”
He loves the view of the communal garden from the balcony off the kitchen-dining area.
And she loves the light that streams in across the tree-filled meadow, where the iris and daffodil bulbs send up green shoots.
The garden’s lawn gently slopes over the equivalent of two city blocks and features benches, swings, a slide and a half-dome jungle gym for children, and cherry, apple, evergreen and even palm trees.
On a recent Sunday afternoon, one could hear birds singing and the occasional airplane overhead. A man was taking a walk with a baby on his chest. A couple sat quietly on a bench. An orange tabby cat and a squirrel scampered through the bushes. A preteen boy threw a Frisbee to a dog.
How often do the Muminoglus use the garden?
“To be perfectly frank, not enough,�� Mr. Muminoglu said, “but whenever we do, it’s really priceless. A couple of barbecues a year, or one Sunday we might grab our newspapers and spend three hours there. It’s one of those things: It’s so lovely that it’s there. Just looking at it fills me with joy and relaxation.”
As with many communal gardens, a local committee stipulates how and when the space can be used.
“It’s heavily regulated by the Canfield and Greencroft Garden Committee,” Mr. Muminoglu said. “For example, if you are over 12 years old, you are not supposed to have any ball games. We don’t allow bonfires. We don’t allow fireworks — but quite a few of the other gardens must, because we hear them.”
The garden is supported and maintained through fees paid by the owners of properties that surround it.
“This garden actually belongs to some lord’s or viscount’s estate,” Mr. Muminoglu said, “and each building pays something toward it. I think our entire five-flat building pays around £1,600 a year. So we pay around 300 a year to use the garden.”
Any drawbacks of the shared space were minor, he said. “Every now and then you might have some of the youngsters congregating with certain smells,” he said, making it clear he was not referring to simple cigarettes. “But very rarely, and not during the day.”
“The worst,” he said, “is when you are down in the garden barbecuing and you realize you forgot the ketchup.”
Security issues, he said, were also minor. “People who used to live here sometimes try to keep the keys,” he said. “At first, we did have some concerns, but with an alarm and everything, nothing has happened on our side.”
Hollywood, however, did come up with one memorable security breach: In the film “Notting Hill,” the characters played by Julia Roberts and Hugh Grant break into Rosmead Garden by climbing over an iron fence.
Mr. Grant’s British bookstore-owner character explains to Ms. Robert’s American actress character about the “mysterious” communal gardens that are “like little villages.”
When she suggests they enter, he replies: “No. That’s the point. They’re private villages. Only the people who live round the edges are allowed in.” (That didn’t stop them from taking a moonlight stroll.)
Communal gardens and squares can also be found in other areas of London, and home prices rise substantially in tonier parts of the city.
James Gilbert-Green of the agency Savills handles what he calls “the prime market in prime central London, so areas like Belgravia, Knightsbridge, Chelsea, Kensington,” which feature both types of communal gardens: ones in front of the property and ones in back.
“People like both, for being able to let kids run directly out the house and into the garden rather than across the road,” he said, “but there’s also an attraction for the common garden square, which is perhaps a little bit more secure because your property doesn’t directly back onto it. You are over the road from it, and your principal rooms at the front of the house overlook that lovely green space.”
One recent listing with Savills was a three-bedroom apartment with a little more than 2,800 square feet on Eaton Square in the Belgravia district with an asking price of almost £10 million. Eaton Square is “made up of six separate garden squares divided by the road network that goes between each one,” Mr. Gilbert-Green said.
Among other notable squares is Cadogan Place. “It’s popular because it’s so large, about eight acres in total,” he said. It also has two tennis courts.
Belgrave Square “is interesting,” he said. “It’s quite a busy garden, a very, very grand, ambassadorial garden square, and the biggest houses in Belgravia are on Belgrave Square. The garden itself is about six acres. It feels like a sort of oasis when you are inside. You have no idea of the traffic that’s going around. It’s lusciously planted, good for summer parties.”
Invitation only, one presumes.
Luckily, all hope is not lost for those of us on the outside looking in.
Each June, the gates of dozens of otherwise private spaces are unlocked for Open Garden Squares Weekend, during which ticket holders can visit.
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biofunmy · 6 years ago
Text
In London, Communal Garden Is Just for You (and a Few Neighbors)
Most Londoners will never get the keys to the castle, but a lucky few do get the keys to a communal garden, semiprivate spaces for the exclusive use of residents with homes in surrounding buildings.
Some of these leafy spaces qualify as mysterious, almost-secret hideaways, tucked behind homes and invisible from the street. Others are tempting, well-groomed areas in plain view but cordoned off by iron railings and gates.
With the city’s once red-hot real estate market so depressed because of concerns around Britain’s possible departure from the European Union, buyers are looking for that something extra, even if access to a parklike communal garden can come with a set of seemingly random rules: Older than 12? You may not be allowed to toss a ball around.
Most of the garden squares in the English capital date to the Georgian or Victorian eras, when the city was fast expanding over fields and marshlands. But at least a few smart Londoners saw value in holding onto these patches of greenery: Many are now protected by the London Squares Preservation Act of 1931, which also limits their use to “ornamental pleasure grounds or grounds for play, rest and recreation.”
Experts say there really is no accurate count of how many are out there. The city’s last complete inventory was carried out almost a century ago, according to Todd Longstaffe-Gowan, a landscape architect redesigning the gardens of Kensington Palace and the author of “The London Square.”
“There are possibly 350 early squares (17th to early 20th century),” he said. “If one were to count communal gardens that are not called ‘squares,’ ‘crescents,’ etc., I expect the number would be closer to 600 to 700.” Some of the newer ones, he said, “are merely street widenings and excuses for the builders to inflate the asking prices that surround them, as it is still very desirable in London to live on a square.”
Ipek Muminoglu and her husband, Miray, say that having access to a communal garden has made big-city life more serene.
The couple bought their four-bedroom, 1,750-square-foot, or 160-square-meter, apartment in 2010 in a building that abuts the Canfield and Greencroft Garden in the South Hampstead Conservation Area. Mr. Muminoglu is a banker in the Canary Wharf financial district about 25 minutes away by Tube, while Mrs. Muminoglu is a stay-at-home mother.
“I was brought up in a house with a garden in Istanbul, so I had this romantic idea of getting a house with a garden,” Mr. Muminoglu said over tea in their sun-drenched salon. “But then I realized that a communal garden is the best because someone else looks after it. I wanted a garden and a balcony, and we got both.”
Their neighborhood in northwest London is a zone of multistory red brick Victorian-era single-family and subdivided homes that feature terra-cotta panels, original stained glass and decorative ironwork on balconies.
Front gardens are packed with rose and lilac bushes, and are enclosed with low walls and green hedges. It’s not uncommon to hear French, Italian or Japanese being spoken by neighbors.
Mark Rees, the sales manager for South and West Hampstead at the real estate agency Parkheath, said the area “typically will attract families and also maybe slightly older young professionals,” even in a market slowed by Brexit-related fears.
He added that many people looking for homes are requesting properties with access to a communal garden. “It’s part of the charm,” he said.
It’s also part of the price. Mr. Rees recently sold a two-bedroom apartment with access to the Canfield and Greencroft Garden that had an asking price of nearly 1.5 million pounds, or about $1.9 million.
“Any outside space here in the U.K., especially within London, is a bonus,” he said. “So having access to a communal garden would certainly push you up into the higher end of the valuation price per square foot.”
A unit that would rent for £2,000 a month without a garden would probably list for £2,500, Mr. Rees said. “There’s certainly a premium. Valuewise for a sale, add roughly £50,000.”
For the Muminoglu family, their property, built in 1886, was a compromise.
“I’m a big fan of flats rather than multistory houses,” Mrs. Muminoglu said. “He had never lived in a flat in his life. We were looking for very different things.”
But they agreed they wanted to live close to the city center.
“We knew we had to be urban,” Mr. Muminoglu said. “And it’s so important to be where friends can stop by.”
He loves the view of the communal garden from the balcony off the kitchen-dining area.
And she loves the light that streams in across the tree-filled meadow, where the iris and daffodil bulbs send up green shoots.
The garden’s lawn gently slopes over the equivalent of two city blocks and features benches, swings, a slide and a half-dome jungle gym for children, and cherry, apple, evergreen and even palm trees.
On a recent Sunday afternoon, one could hear birds singing and the occasional airplane overhead. A man was taking a walk with a baby on his chest. A couple sat quietly on a bench. An orange tabby cat and a squirrel scampered through the bushes. A preteen boy threw a Frisbee to a dog.
How often do the Muminoglus use the garden?
“To be perfectly frank, not enough,” Mr. Muminoglu said, “but whenever we do, it’s really priceless. A couple of barbecues a year, or one Sunday we might grab our newspapers and spend three hours there. It’s one of those things: It’s so lovely that it’s there. Just looking at it fills me with joy and relaxation.”
As with many communal gardens, a local committee stipulates how and when the space can be used.
“It’s heavily regulated by the Canfield and Greencroft Garden Committee,” Mr. Muminoglu said. “For example, if you are over 12 years old, you are not supposed to have any ball games. We don’t allow bonfires. We don’t allow fireworks — but quite a few of the other gardens must, because we hear them.”
The garden is supported and maintained through fees paid by the owners of properties that surround it.
“This garden actually belongs to some lord’s or viscount’s estate,” Mr. Muminoglu said, “and each building pays something toward it. I think our entire five-flat building pays around £1,600 a year. So we pay around 300 a year to use the garden.”
Any drawbacks of the shared space were minor, he said. “Every now and then you might have some of the youngsters congregating with certain smells,” he said, making it clear he was not referring to simple cigarettes. “But very rarely, and not during the day.”
“The worst,” he said, “is when you are down in the garden barbecuing and you realize you forgot the ketchup.”
Security issues, he said, were also minor. “People who used to live here sometimes try to keep the keys,” he said. “At first, we did have some concerns, but with an alarm and everything, nothing has happened on our side.”
Hollywood, however, did come up with one memorable security breach: In the film “Notting Hill,” the characters played by Julia Roberts and Hugh Grant break into Rosmead Garden by climbing over an iron fence.
Mr. Grant’s British bookstore-owner character explains to Ms. Robert’s American actress character about the “mysterious” communal gardens that are “like little villages.”
When she suggests they enter, he replies: “No. That’s the point. They’re private villages. Only the people who live round the edges are allowed in.” (That didn’t stop them from taking a moonlight stroll.)
Communal gardens and squares can also be found in other areas of London, and home prices rise substantially in tonier parts of the city.
James Gilbert-Green of the agency Savills handles what he calls “the prime market in prime central London, so areas like Belgravia, Knightsbridge, Chelsea, Kensington,” which feature both types of communal gardens: ones in front of the property and ones in back.
“People like both, for being able to let kids run directly out the house and into the garden rather than across the road,” he said, “but there’s also an attraction for the common garden square, which is perhaps a little bit more secure because your property doesn’t directly back onto it. You are over the road from it, and your principal rooms at the front of the house overlook that lovely green space.”
One recent listing with Savills was a three-bedroom apartment with a little more than 2,800 square feet on Eaton Square in the Belgravia district with an asking price of almost £10 million. Eaton Square is “made up of six separate garden squares divided by the road network that goes between each one,” Mr. Gilbert-Green said.
Among other notable squares is Cadogan Place. “It’s popular because it’s so large, about eight acres in total,” he said. It also has two tennis courts.
Belgrave Square “is interesting,” he said. “It’s quite a busy garden, a very, very grand, ambassadorial garden square, and the biggest houses in Belgravia are on Belgrave Square. The garden itself is about six acres. It feels like a sort of oasis when you are inside. You have no idea of the traffic that’s going around. It’s lusciously planted, good for summer parties.”
Invitation only, one presumes.
Luckily, all hope is not lost for those of us on the outside looking in.
Each June, the gates of dozens of otherwise private spaces are unlocked for Open Garden Squares Weekend, during which ticket holders can visit.
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juliandmouton30 · 7 years ago
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Mole Architects builds house "like a seagull's wing" on Suffolk coast
An angular, asymmetric roof tops this house designed by Mole Architects for a site overlooking an estuary in Suffolk, England.
Cambridge-based Mole Architects designed the two-storey Marsh Hill house for a couple, on a site overlooking the estuary of the River Alde.
A dilapidated old property had to be demolished to make way for the new house. Planning regulations dictated that the new building must not exceed the height of its predecessor, and that is must avoid compromising views from a nearby property.
As a result, the architects created a building with a roof that is higher on one side than another, allowing room to squeeze in an upper storey at the eastern end of the plan.
"Located in an area of outstanding beauty, the house hovers over the landscape like a seagull's wing," said the architects.
Flooding in 2013 caused by extremely high tides also prompted the architects to consider the need for flood defences, resulting in a house that is positioned on raised up above its sloping site.
The building's form and materials respond to the conditions imposed by the planners and the landscape.
A timber frame is clad in white-painted brick, which wraps around all four sides and extends across an angled entrance that protrudes from the north facade.
The south-facing elevation opens up towards views of the wetlands, and the weathered-zinc roof wraps down over this wall.
"The white-painted brick and zinc presents a limited and subtle palette, a reflection of the silver water beyond," said the architects.
The entrance hallway opens onto a tall living room that displays the angle of the roof. The split-level space connects with a kitchen and dining area at one end, which is situated behind a wall made from painted masonry blocks that offer continuity with the external material palette.
Large windows line the living spaces on this level, offering panoramic views of the landscape. A pivoting door in the lounge and sliding window in the dining area can be opened to enhance the connection between the interior and exterior.
The hallway connects the living space with two bedrooms and bathrooms at the west end of the house, while a staircase leads up towards a study and master suite positioned beneath the raised section of the roof to the east.
The house features a muted palette dominated by shades of white and blue, with recycled-clay tiles providing a warm, textured floor surface that extends throughout the main living areas and onto the outdoor spaces.
The floor in the kitchen and dining space is a bespoke terrazzo containing pieces of Norfolk flint and slate. Patterned tiles and stained-oak joinery introduce alternative surface detail to smaller rooms including the master bedroom.
Mole Architects was founded by architect Meredith Bowles in 1996 and has built a reputation for modern designs that employ traditional materials and techniques to ensure they complement their local context.
The firm recently received the 2017 Stephen Lawrence Prize from the RIBA for a house comprising a pair of blackened-timber volumes that resemble the upturned hull of a boat.
Other previous projects include a cedar-clad house in Suffolk based on classical vicar's residences, and an extension to a protected farmhouse featuring a barrel-vaulted roof that references agricultural buildings.
Related story
Cedar-clad Stackyard by Mole Architects is a house based on old rectories
Photography is by David Butler.
Project credits:
Architects: Mole Architects Landscape architects: Todd Longstaffe Gowan Lighting design: Michael Grubb Studio Interior design: Interior Couture
The post Mole Architects builds house "like a seagull's wing" on Suffolk coast appeared first on Dezeen.
from ifttt-furniture https://www.dezeen.com/2017/11/06/mole-architects-angular-marsh-hill-house-suffolk-coast-resembles-seagulls-wing/
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charlesccastill · 7 years ago
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Designed for living, learning
By Travis Dagenais
Photos by Iwan Baan
Wimbledon House is known for its bold, modular design and sunny, inside-out aesthetic, but when then-budding architect Richard Rogers designed the London home for his parents in the 1960s, he wanted to create a flexible living space that could shape-shift to suit their needs.
The modular home world-renowned British architect Richard Rogers designed for his parents in the 1960s now serves as an urban studies lab for the Harvard Graduate School of Design.
The steel-framed, prefabricated house with moveable partitions influenced Rogers’ later work on landmarks such as the Centre Pompidou — but more than an architectural experiment, the home was designed for living, a space where his mother, who loved to cook, could host big gatherings around the dinner table.
So it’s fitting that one of the first events to be held in the home since it became a fellowship residence for Harvard’s Graduate School of Design (GSD) will be a talk examining the way food and cooking shape cities — one focus of study by the fellows this year.
Rogers gave the home to GSD in 2015 to ensure the Heritage-listed property’s continued use as a residence — and last month it was unveiled after restorations by architect Philip Gumuchdjian and landscape architect Todd Longstaffe-Gowan, M.L.A. ’84.
Movable partitions allow rooms to be reconfigured.
The restoration wasn’t Gumuchdjian’s first brush with the house. In 1980 while he was an apprentice, he was tasked with replacing the home’s iconic yellow blinds and even then he was awed by the house’s flexible design, which he describes as “radical.”
“I recall it as a place full of serenity and aesthetic harmony,” he said, “a place of sunlight and of views into landscape.”
In the fall, the Graduate School of Design will hold an event at the house, showing the way food and cooking shape cities.
Fast-forward to 2015 and Gumuchdjian presides over a firm whose challenge was to restore the modernist icon to its original state while modifying it for its new role as a research home for Harvard. Replaced were the roof, the asbestos-filled external walls, and the servicing; removed were recently added buildings and internal partitions.
“[Wimbledon] is not just an iconic, flexible machine for living nor simply a historic experimental building that foretold the architect’s future work,” he said, “it was also a home with a unique memory, patina, and aura.”
The garden was completely re-created. Longstaffe-Gowan, a 1984 grad of GSD, strove to “restore the original balance of the 1960s composition to better reflect the architect’s original intentions.” Wimbledon is “a total work of art,” he said. “The house, gardens, and interiors were conceived in concert to form a unified whole.”
“The outdoor rooms are at once boundless and enveloping,” said Todd Longstaffe-Gowan, who restored the home’s gardens.
The internal steel frame of Wimbledon House allows for a flexible layout.
Rogers has described the house as a “transparent tube with solid boundary walls.”
“The house was conceived as a kit of parts in an age before such concepts were commonplace,” said Philip Gumuchdjian, the architect who led the restoration.
In addition to serving as the residence for the Richard Rogers Fellowship, the Wimbledon House will provide the GSD a new venue for lectures, symposia, and other events bringing together scholars and practitioners from London, Europe, and around the world.
One of the first events to be hosted at the house this fall explores the way food and cooking shape cities, which seems apt considering the central role of food and cooking in Rogers’ life — his wife, Ruth, runs a Michelin-starred restaurant, and presented a lecture about food at Harvard last fall. One of the six inaugural fellows, GSD alum Jose Castillo, is studying cooking and eating through cultural, ecological, and political lenses, probing connections between urban food economies and forces like climate change and migration.
This application of design thinking to broad global questions exemplifies the work GSD hopes to stimulate, especially through the Richard Rogers Fellowship. Other projects by fellows this year will focus on public and affordable housing as well as citizen-driven revitalization efforts in cities.
The goal of the residency program is to support research that addresses alternative and sustainable urban futures.
Rogers’ experimentation with materials and techniques through the Wimbledon House influenced his work on the Centre Pompidou, which he co-designed with Renzo Piano.
The first class of fellows are from Austria, Mexico, the Netherlands, Norway, and the United States.
The fellowship, launched in October, is inspired by Rogers’ commitment to cross-disciplinary investigation and social engagement as an architect, urbanist, author, and activist and is dedicated to advancing research on a range of issues key to shaping cities — social, economic, technological, political, and environmental.
Each year, six fellows will be awarded a three-month residency, travel expenses to London, and a $10,000 cash prize. 
To learn more, please visit the Richard Rogers Fellowship website.
(Reprinted with permission from Harvard Gazette.)
from Boston Real Estate http://bostonrealestatetimes.com/designed-for-living-learning/
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nofomoartworld · 7 years ago
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iGNANT.com: A New Renovation For The Wimbledon House
Originally built in 1968 for the parents of celebrated architect Richard Rogers, the Wimbledon House in southwest London has undergone a renovation. Following a brief from Harvard, the project was led by Philip Gumuchdjian and landscape architect Todd Longstaffe-Gowan.
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from iGNANT.com http://ift.tt/2t79vVI via IFTTT
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redwolf · 7 years ago
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Following extensive renovations led by Philip Gumuchdjian and landscape architect Todd Longstaffe-Gowan, 'Wimbledon House'—formerly known as the Rogers House or '22 Parkside'—has reopened as the Harvard GSD's primary residence and London venue for the Richard Rogers Fellowship. The house, which was designed by Lord Rogers and his former wife Su Rogers for his parents in the late 1960s, was gifted to the US school by Lord and Lady Rogers in 2015 to "ensure the Heritage-listed property’s continued use as a residence, and to provide a unique research opportunity." The house has now been protected for future generations of architecture professionals and scholars whose work is focused on the built environment. 
(via Richard and Su Rogers's Wimbledon House Photographed by Iwan Baan | ArchDaily)
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daydec · 7 years ago
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Richard and Su Rogers’s Wimbledon House Photographed by Iwan Baan
centro de ideas daydec (design) Courtesy of the Harvard Graduate School of Design. Image © Iwan Baan Following extensive renovations led by Philip Gumuchdjian and landscape architect Todd Longstaffe-Gowan, ‘Wimbledon House’—formerly known as the Rogers House or ’22 Parkside’—has reopened as the Harvard GSD’s primary residence and London venue for the Richard Rogers Fellowship. Courtesy of the […] from Richard and Su Rogers’s Wimbledon House Photographed by Iwan Baan
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architectnews · 3 years ago
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National Gallery London Building, Trafalgar Square
National Gallery London, Sainsbury Wing, Architect, Images, NG200, Date, Extension Design, Photos
National Gallery London Architecture
Key Public Building in Trafalgar Square, England, UK Built Environment News
14 July 2021
National Gallery Building London Renewal Winner
Selldorf Architects win the NG200 Project at The National Gallery
The National Gallery has today (14th of July 2021) announced that a team led by Selldorf Architects has been selected to work on a suite of capital projects to mark its Bicentenary, with an initial phase to be completed in 2024.
Selldorf Architects’ team also includes Purcell, Vogt Landscape, Arup, AEA Consulting, Pentagram, Kaizen and Kendrick Hobbs.
Annabelle Selldorf, founding Principal of Selldorf Architects, USA: photo © Brigitte Lacombe
Based in New York, Selldorf Architects has considerable experience within the arts and culture sector across the UK, Europe, and the US. It counts among its current and previous clients: The Frick Collection, Luma Arles, the Museum of Contemporary Art San Diego, the Smithsonian American Art Museum, Neue Galerie New York, the Clark Art Institute, David Zwirner, Hauser & Wirth, Frieze Masters, and the Venice Art Biennale.
The Selldorf Architects-led team will work with the National Gallery to complete the initial phase of works to its Trafalgar Square buildings to greatly improve the ‘welcome’ it provides to the millions of visitors it receives each year. This will include remodelling parts of the Sainsbury Wing and the public realm, and the provision of a new Research Centre. These sensitive interventions will be pivotal in reshaping the National Gallery for its third century and the next generation of visitors.
Over the coming months, the approach submitted by Selldorf Architects’ team will be refined into a comprehensive brief alongside the National Gallery team, and extensive engagement and liaison with external stakeholders will begin.
Underpinning the brief is the desire to create healthy, sustainable, and accessible spaces and an environment that is open and inclusive where visitors can feel welcome and reflect as they plan their visit to one of the world’s finest art collections. Following a year of unprecedented challenges due to Covid-19, the National Gallery wants to build on its strength, inventiveness, and relevance to play a vital role in the nation’s recovery story.
A major part of the National Gallery’s Bicentenary celebrations will be a programme of inspirational exhibitions and outreach around the country and around the world, under the banner NG200. The National Gallery plans to engage the whole of the UK with the Gallery’s collection, demonstrating itself as a national institution at the heart of national life. An extensive programme of digital engagement will also be leveraged to extend and redefine the Gallery’s influence as a global digital institution.
Commenting on the appointment of Selldorf Architects, Director of the National Gallery, Dr Gabriele Finaldi said:
‘We are delighted to appoint Selldorf Architects as the design-team partner for NG200. Throughout the selection process, Selldorf Architects demonstrated a real understanding of our ambitions as well as sensitivity to the heritage of our existing buildings. However, the talent and tenacity demonstrated at all levels by each of the six shortlisted teams was remarkable. I would like to thank all those involved, particularly the judging panel who have guided us through the selection process.
The capital projects form the first stage of our Bicentenary celebrations and are essential in building the foundations of the Gallery’s future. Working alongside Selldorf Architects, we will develop and deliver a detailed brief that will be the framework through which we consolidate our role as the nation’s gallery.
The next five years will be pivotal in fighting our way out of the crisis of Covid-19. We recognise the catastrophic impact this has had on so many, and particularly on arts and culture institutions’ visitor numbers. It will take time for these to return to 2019 levels, but there is hope on the horizon and arts and culture will be crucial in the healing of our country. We plan to build on our strengths, respond to challenges and opportunities, and forge a pathway to the National Gallery of the future – for the nation and for the world.
Our Bicentenary in 2024 is a key moment in this creation of the new National Gallery. We will demonstrate the values we hold, and the value we create as we enter our third century with renewed and bold ambition, and perhaps most importantly – hope.’
photo courtesy of the National Gallery
Annabelle Selldorf, founding Principal of Selldorf Architects, added:
‘It is an honour to be appointed to work alongside the National Gallery on its NG200 project. This is a significant opportunity for an iconic cultural institution to reflect on its ambitions for the future and drive forwards an innovative, bespoke brief that befits its many visitors. The National Gallery is home to one of the most exceptional collections of art in the world and has often led the way for other institutions globally.
Our team will work sensitively and thoughtfully with the National Gallery, guided by its vision for a Gallery of the future that is inspiring, sustainable, and truly inclusive.’
The selection process was run under the Competitive Procedure with Negotiation in accordance with UK procurement regulations by Malcolm Reading Consultants. The five other shortlisted teams were led by: Asif Khan, Caruso St John Architects, David Chipperfield Architects, David Kohn Architects, and Witherford Watson Mann Architects.
In addition to the Executive team and Trustees of the National Gallery, several independent panellists were appointed to the judging panel to select an architect-led design team. These were: Edwin Heathcote, architecture critic and author; leading structural engineer Jane Wernick CBE FREng; and Ben Bolgar, Senior Design Director for the Prince’s Foundation.
Selldorf Architects, New York City
Previously on e-architect:
8 Apr 2021
National Gallery Building London Renewal Shortlist
The National Gallery Announces Six Shortlisted Design Teams For Its NG 200 Plans
The National Gallery has today (8 April 2021) announced six shortlisted design teams in its search for a partner to work with it on a suite of capital projects to mark its Bicentenary. An initial phase of work will be completed in 2024, to mark the Gallery’s 200th year.
The shortlisted teams are:
Asif Khan with AKT II, Atelier Ten, Bureau Veritas, Donald Insall Associates, Donald Hyslop, Gillespies, Joseph Henry, Kenya Hara, and Plan A Consultants
Caruso St John Architects with Arup, Alan Baxter, muf architecture/art and Alliance CDM
David Chipperfield Architects with Publica, Expedition, Atelier Ten, iM2 and Plan A Consultants
David Kohn Architects with Max Fordham, Price & Myers, Purcell and Todd Longstaffe‐Gowan
Selldorf Architects with Purcell, Vogt Landscape Architects, Arup and AEA Consulting
Witherford Watson Mann Architects with Price and Myers, Max Fordham, Grant Associates, Purcell and David Eagle Ltd
The shortlist has been drawn from an impressive pool of submissions from highly talented UK and international architect-led teams. In addition to members of the executive team and Trustees of the National Gallery, several independent panellists are advising on the selection process, which is being run by Malcolm Reading Consultants. These are Edwin Heathcote, Architecture Critic and Author: leading structural engineer Jane Wernick CBE FREng: and Ben Bolgar, Senior Design Director for the Prince’s Foundation. The extremely high quality of the submissions led the panel to increase the number of design teams shortlisted from the originally envisaged five, to six.
Following an open call launched in February 2021, the next steps will require the shortlisted teams to submit an initial tender, attend negotiation workshops, submit a final tender and then be interviewed by the selection panel. No design work will be required, and some expenses will be paid to the shortlisted teams. An appointment is expected to be made in July 2021.
Commenting on the announcement of the shortlisted teams, Director of the National Gallery, Dr Gabriele Finaldi said: ‘We were impressed and delighted with the high quality of the submissions we received. It was not an easy task to reach the shortlist, but we are confident that we have chosen six teams that will produce a range of different approaches to excite and inspire us.
This is a significant moment in the development of the National Gallery as we look forward to the recovery of our arts and cultural institutions, our city and our country. It is important that we choose a team who we can work with collaboratively and that shares our vision for the future. I’m looking forward to the next phase of the selection process.’
Paul Gray, Chief Operating Officer of the National Gallery, added: ‘We thank everyone who submitted for the NG200 Project. From these six shortlisted teams, we are looking for demonstrable and exceptional design talent as well as the creativity to respond sensitively to the heritage and context of the Sainsbury Wing. We have identified teams that we know will offer exciting and inspiring visions, and we look forward to working with the winning team to unlock the potential of the spaces within the Sainsbury Wing and the public realm.’
NG200 will celebrate 200 years since the National Gallery’s foundation in 1824, programming a series of inspirational exhibitions and outreach around the country and around the world. The celebration will also include the completion of an initial phase of works to its Trafalgar Square buildings to improve the ‘welcome’ it provides to the millions of visitors it receives each year.
The brief for the project includes sensitive interventions to the Grade I listed Sainsbury Wing to reconfigure the ground- floor entrance and upgrade the visitor amenities, creating new spaces that will provide a welcome experience befitting a world-class institution and that meets the expectations of 21st-century visitors.
A new Research Centre will support the Gallery’s vision of becoming a world leader in research into historic painting, and communicate the Gallery’s work as a global thought leader by creating a powerful resource for studies into art history, digital humanities, conservation, and heritage science. It will be a resource for everyone interested in studying art, from students to international academics.
The successful team will also be asked to reimagine the public realm immediately outside the Sainsbury Wing and along the northern edge of Trafalgar Square to improve the presence of the building in its context and create a more attractive and enjoyable setting for visitors and the public.
Underpinning the brief is the desire to create healthy, sustainable, and accessible spaces and an environment that is open and inclusive where visitors can relax as they plan their visit to one of the world’s finest art collections. Following a year of unprecedented challenges due to Covid-19, the National Gallery wants to build on its strength, inventiveness, and relevance to play a vital role in the nation’s recovery story.
photograph © Nick Weall for e-architect
National Gallery Building London Renewal Shortlisted Teams
Information on shortlisted teams
Asif Khan
We have assembled a highly experienced team of innovators, experts, and dear friends of the National Gallery to collaborate and deliver a new beginning for this sensitive site on its 200th Birthday.
Our team is led by Asif Khan Ltd., the award-winning London architecture office who have been working on the Museum of London and Dubai Expo public realm for the past four years; globally renowned graphic designer and visual communicator Kenya Hara; award‐winning structural engineers AKTII; innovative environmental engineers Atelier 10; landscape architects Gillespies; historic building architects Donald Insall Associates; and courageous urban practitioners Joseph Henry and Donald Hyslop.
We sincerely believe that our team will bring the exact mix of diversity, respect and freshness that this old friend needs to help it into the next century.
Caruso St John
Caruso St John Architects with Arup, Alan Baxter, muf architecture/art and Alliance CDM
Since its foundation in 1990, Caruso St John Architects has been pursuing an architecture that is rooted in place.  The practice resists the thin‐skinned abstraction that characterises much global architecture in favour of buildings that are perceived slowly over time and that have an emotional content. Its work is enriched by an ongoing dialogue with the European city and with history —that of architecture, art, and culture more widely. Caruso St John’s approach brings an intensity to the built work and ensures the rigorous construction quality for which the practice is renowned.  The result is an architecture that is considered, meaningful and enduring.
David Chipperfield
David Chipperfield with Publica, Expedition, Atelier Ten, iM2 and Plan A Consultants
David Chipperfield Architects (DCA) has brought together an experienced and award‐winning London‐based team with the collective expertise to meet the ambitions and specific challenges of the NG200 Project. Led by architects and heritage experts DCA, the team includes urban design and public realm specialists Publica; Expedition and Atelier Ten structural and services engineers; Principal Designer iM2; and Plan A design managers. The team shares a common spirit of partnership, collaboration, and design excellence.
Over the last 35 years DCA has been widely celebrated for its cultural projects such as Museo Jumex in Mexico City and James‐Simon‐Galerie in Berlin as well as its sensitive work with historic and listed buildings, including masterplans for Museum Island in Berlin and the Royal Academy of Arts in London. The practice has a proven track record with the restoration and re‐use of modern landmarks such as Mies van der Rohe’s Neue Nationalgalerie.
David Kohn
David Kohn Architects has a reputation for arts and education projects. Gallery projects have included the V&A Photography Centre, refurbishment of the ICA, a restaurant for the Royal Academy, and spaces for Sotheby’s and Christie’s. Collaborations with artists have included A Room for London with Fiona Banner RA, The Salvator Mundi Experience with Simon Fujiwara and Ickworth House with Pablo Bronstein.
The practice is currently working on new campuses for New College Oxford and the University of Hasselt, Belgium, and new market halls for Birmingham City. The proposed team are successfully collaborating on these projects but also bring skills specific to the NG200 Project. In particular, Purcell has worked with the National Gallery for 30 years and have an unrivalled knowledge of the estate. David Kohn has recently written about Robert Venturi and Denise Scott Brown and their influence on his practice, in the Architectural Design special issue, Multiform.
Selldorf
Selldorf Architects with Purcell, Vogt Landscape Architects, Arup and AEA Consulting
The team of Selldorf Architects, Purcell, Vogt, Arup and AEA bring extensive experience in the sensitive updating of museums and other historically significant buildings in important public contexts. Lead designer Selldorf Architects is currently working on the $160 million expansion and renovation of The Frick Collection in New York City and the Museum of Contemporary Art San Diego.
Founded in 1947, Purcell is the largest UK practice working in the field of historic buildings. Vogt was the designer for the public realm of Tate Modern and is one of the leading voices in landscape architecture today. Arup is unparalleled in their technical creativity and were the original Structure and MEP engineers of the Sainsbury Wing. AEA Consulting is a global firm setting the standard in strategy and planning for cultural and creative industries. The team is committed to world‐class, place‐making architecture and urban design that is sustainable and future‐forward.
Witherford Watson Mann
Witherford Watson Mann Architects + Price and Myers + Max Fordham + Grant Associates + Purcell + David Eagle Ltd
Witherford Watson Mann Architects are specialists in the transformation of cultural heritage. RIBA Stirling Prize winners in 2013 and shortlisted for the award in 2019 for their work at Astley Castle and Nevill Holt Opera, their designs for the Grade I listed Courtauld Institute of Art at Somerset House and Clare College, Cambridge are currently under construction.
Their team includes Price & Myers, structural engineers and Max Fordham, services engineers, longstanding collaborators of the practice and substantial contributors to their award‐winning projects; Grant Associates, landscape architects whose work ranges from the discreet urban landscape at Accordia, Cambridge to the flamboyant Gardens by the Bay in Singapore; Purcell, deeply experienced in the field of historic buildings, who have delivered sensitive and creative projects for the National Gallery, the British Museum, and the V&A; and by David Eagle, CDM advisor amongst others to Argent at Kings Cross and Woolwich Creative District.
National Gallery Building London Renewal Competition Jury
Selection Panel
The selection panel is comprised of:
Dr Gabriele Finaldi, Director, The National Gallery
Lord Hall of Birkenhead CBE, Chair of Trustees, The National Gallery
Malcolm Reading RIBA, Chairman, Malcolm Reading Consultants
David Marks, Trustee, The National Gallery
Tonya Nelson, Trustee, The National Gallery
Jane Wernick CBE FREng, Director eHRW
Edwin Heathcote, Architecture and Design critic and author
Ben Bolgar, Senior Design Director, Prince’s Foundation
More information about the design team selection process including the full brief can be found here: https://competitions.malcolmreading.com/nationalgallery
page updated 6 Mar 2021 + 23 Jun 2014
National Gallery Building London Renewal
The National Gallery has announced it is seeking a multi-disciplinary design team to work with it on a suite of capital projects to mark its bicentenary, with an initial phase to be opened in 2024.
To celebrate 200 years since its foundation in 1824, the National Gallery is planning a programme of inspirational exhibitions and outreach around the country and around the world, under the banner NG200. This will also include the completion of an initial phase of works to its Trafalgar Square buildings in order to improve the ‘welcome’ it provides to the millions of visitors it receives each year
photograph © Nick Weall
An open, two-stage selection process, run by Malcolm Reading Consultants, is being undertaken to identify a team who can work with the Gallery and its advisers to develop an architectural vision and conceptual approach to a phased five-year programme of works.
The first stage is an open, international call for architect-led, multi-disciplinary design teams to register their interest and demonstrate their relevant skills and experience. A shortlist of up to five teams will then be asked to submit details of their approach to the design and delivery of the project and will be interviewed by a selection panel. No design work is required and some expenses will be paid to the shortlisted teams. An appointment is expected to be made in July 2021.
Commenting on the launch of the selection process, Director of the National Gallery, Dr Gabriele Finaldi said: ‘The capital projects are a hugely important part not just of our bicentenary celebrations but of our vision for the National Gallery of the future.
We are extremely fortunate to have a superb building and a modern classic in the Sainsbury Wing; one that has more than met its original brief, notably in the practically perfect picture galleries. The dual challenge of a huge increase in visitor numbers and the changing expectations and needs of those visitors over the last 30 years, means we do need to look again at the spaces we have, and in particular the ground floor entrances and amenities.
We recognise, of course, that we are all currently experiencing an unprecedented time of crisis, with an impact felt by every sector in every part of our country and across the globe. The Covid-19 pandemic has had a catastrophic effect on visitor numbers to all cultural and arts institutions, the National Gallery included, and it will take time for these to return to 2019 levels.
But there is hope on the horizon and art and culture have a vital role to play in the healing of our country. The National Gallery was the first major museum to open after lockdown restrictions were lifted in July 2020, demonstrating its commitment to be part of the nation’s recovery story. As the nation’s gallery, we want to play a full part in this in the future, and to do so, we need to start planning now.’
The overall brief for the project includes sensitive interventions to the Grade I listed Sainsbury Wing, including remodelling the front gates and ground floor entrance sequence; interior works to the lobby and first floor spaces and upgrading visitor amenities; in particular orientation and information; retail and security. As the main entrance to the National Gallery, the Sainsbury Wing requires inspiring spaces that meet the expectations of 21st-century visitors, befitting a world-class institution housing an outstanding collection of art.
The creation of a new Research Centre, likely to be housed in the west wing of the Wilkins Building adjacent to the Sainsbury Wing, will form part of a phase of work. It will support the Galley’s vision of becoming a world leader in research into historic painting and communicate its work as a global thought leader by creating a powerful resource for studies into art history, digital humanities, conservation, and heritage science. It will be a resource for everyone interested in studying art, from students to international academics.
The design brief also allows scope for the reimagining of the relationship between the Gallery and the public realm immediately, from the loggia of the Sainsbury Wing, across Jubilee Walk and along the northern edge of Trafalgar Square to the front of the Wilkins Building. Although limited, the refocusing and strengthening of these spaces would provide greater visibility and presence for the Gallery on Trafalgar Square, while creating a more attractive and enjoyable setting for visitors and the public.
Underpinning the brief is the desire to create healthy, sustainable, and accessible spaces and an environment that is open and inclusive where visitors can relax and reflect as they plan their visit to one of the world’s finest art collections. Following a year of unprecedented challenges due to Covid-19, the National Gallery wants to build on its strength, inventiveness and relevance to play a vital role in the nation’s recovery story. Culture Secretary Oliver Dowden said:
‘The National Gallery has been inspiring visitors for almost 200 years, and this innovative project will welcome a new generation of art lovers to its halls. Culture is going to play a central role in the nation’s recovery, with global icons like the National Gallery helping us build back better from the pandemic.’
Paul Gray, the Chief Operating Officer at the National Gallery is leading the selection process. He added: ‘We are looking for a team that can demonstrate exceptional design talent and creative flair. Sensitivity to the heritage of the existing building and its context will be crucial as will the ability to design and deliver complex projects working in collaboration with the client and wider team.
Most importantly, we want to identify people and organisations that excite and inspire us and can open our eyes to the potential of the spaces within the Sainsbury Wing and the public.”
Nelson’s Column, central to Trafalgar Square, looking south towards Whitehall: photograph © Nick Weall
Malcolm Reading, Search Director, and Chairman, Malcolm Reading Consultants, said:
‘The process chosen by the National Gallery is not a conventional design competition seeking design concepts but instead creates the opportunity for much more interaction ‒ something the Gallery values and we know architects appreciate. We welcome both national and international teams. They will need to be exceptional and the international teams will require a UK partner for stage two.’
The deadline for first stage responses is: 2pm GMT Thursday 18 March 2021. Details of how to enter are available at: competitions.malcolmreading.com/nationalgallery
This selection process is being run under the Competitive Procedure with Negotiation in accordance with UK procurement regulations.
National Gallery London
Dates built: 1832–38 (façade) Architect: William Wilkins
Dates built: 1872-76 (Barry Rooms) Architect: E. M. Barry
photograph © Nick Weall
Address: Trafalgar Square, London WC2N 5DN, UK
Phone: 020 7747 2885
Opening hours: 10:00 am – 6:00 pm, check with operator
National Gallery Building by William Wilkins architect – entry stairs and portico on south frontage: photo © Adrian Welch
This is an art museum on Trafalgar Square in central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the mid-13th century to 1900. The Gallery is an exempt charity, and a non-departmental public body of the Department for Culture, Media and Sport. Its collection belongs to the public of the United Kingdom and entry to the main collection is free of charge. It is the fifth most visited art museum in the world, after the Musée du Louvre, the Metropolitan Museum of Art, the British Museum and Tate Modern.
Sainsbury Wing – National Gallery Extension – interior view of long entry stairs flight: photo © Adrian Welch
The present building, the third to house the collection, was designed by architect William Wilkins from 1832–38. Only the façade onto Trafalgar Square remains essentially unchanged from this time, as the building has been expanded piecemeal throughout its history. Wilkins’s building was often criticised for its perceived aesthetic deficiencies and lack of space; the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, an extension to the west by Robert Venturi and Denise Scott Brown, is a notable example of Postmodernist architecture in Britain. Soyurce: wikipedia
photographs © Adrian Welch
National Gallery architect : William Wilkins
Sainsbury Wing – National Gallery Extension, Trafalgar Square Dates built: 1988-91 Design: Venturi, Scott Brown & Associates – Robert Venturi and Denise Scott Brown, based in the USA
photos © Adrian Welch
photographs © Nick Weall
National Gallery Extension design : Venturi Rauch Brown, architects
photographs © Nick Weall
The architectural proposal by ABK – for the building that came to be known as the Sainsbury Wing – was infamously described by Prince Charles [May 30, 1984] as being “a monstrous carbuncle on the face of a much-loved and elegant friend”. This helped set up a polarisation in the UK between traditional and contemporary architecture styles and thinking.
photographs © Nick Weall
ABK’s design for the extension was abandoned.
photographs © Nick Weall
Sainsbury Wing – National Gallery Extension: image © Adrian Welch
Location: National Gallery, London, England, UK
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