DOCSLIB.ORG

1 Twickenham Rediscovered

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 Twickenham Rediscovered TWICKENHAM REDISCOVERED – TRANSFORMING TWICKENHAM NEW HEART FOR TWICKENHAM A RESPONSE TO RECENT PUBLIC CONSULTATION July, 2017 INTRODUCTION As a resident of the Borough since 1948, as a resident of Twickenham since 1983, as a chartered architect working in Twickenham, and as life-member of the Twickenham Society, I set out below my response to the recent public consultation ‘Twickenham Rediscovered – Transforming Twickenham - New Heart for Twickenham’, referring to the material displayed in the Clarendon Hall at York House, Twickenham in June and July; to the 17-page, A.3-format document available at the exhibition; and to the separate, one-page ‘Twickenham Rediscovered: Frequently Asked Questions (FAQs)’ document. I have also had the opportunity of a useful conversation with the Project Manager, Darren Jacob at the Clarendon Hall. In part, these comments draw upon my observations of December, 2015 responding to the Council’s consultation on the original proposals for the Twickenham Riverside site prepared by Quinlan and Francis Terry Architects, and my observations of December, 2016 responding to the Council’s consultation on the revised proposals for the site prepared by Francis Terry and Associates*. Many of my earlier comments in relation to those previous proposals remain relevant in relation to the latest proposals. However, in submitting these comments, I have had regard to the changes effected to the original and subsequent proposals shown in the latest proposals prepared by Francis Terry and Associates. Once again, the Council’s carrying-out further public consultation on emerging proposals for the future development of a key and long-unresolved part of Twickenham’s riverside adjacent to Water Lane and The Embankment is to be keenly welcomed. However, it is clear that the latest proposals are still substantially deficient and still require substantial revision before they can form the basis of a sound application for Planning Permission that properly meets the local community’s entirely reasonable aspirations and expectations for a site of such outstanding strategic and heritage significance and the relevant, formally adopted national, London-wide and local planning and conservation policies and the Council’s supplementary planning guidance. SETTING THE SCENE Once again, there is little evidence in the material displayed in the Clarendon Hall and in the accompanying document of any real attempt to assess the particular, special architectural and historic interest, character, appearance and significance of the proposed development site and its setting. Very sadly, the opportunity has been missed to identify the scale, configuration and 1 character of the area between King Street, Church Street and the Embankment before the damaging property-clearances and street-widening undertaken during the 20th century, and to use such historic precedent to inform the shaping of the proposals for new development. THE BRIEF AND PROCUREMENT OF THE PROJECT Whilst noting the statement about financial viability and delivery on page 17 of the consultation document, the Council remains silent about the shaping of the brief in terms of the desirable land-use mix and the floor-space figures for the proposed retail, restaurant, business, residential and other uses. Whilst welcoming the advice provided in the separate, one-page ‘Twickenham Rediscovered: Frequently Asked Questions (FAQs)’ document that ‘the upper floors of the development will provide a number of 1, 2 and possibly a small number of 3 bedroom flats’, and noting that ‘the total number and mix of units is still to be determined’ and that ‘the proposal is likely to deliver between 35 and 40 flats’, no indication is provided on the critical issue of the maximum size of the residential, retail, restaurant and business units in the development. Once again, the Council remains effectively silent on the critical issue of the proposed approach to the funding and implementation of the development and its ownership on its completion – not least, if a lease or the freehold interest in the site is to be sold-on after Planning Permission is obtained or development completed. It is to be assumed that the Council has secured detailed professional advice regarding the valuation and costs aspects of the project, and has already agreed an appropriate strategy for its funding and procurement. All these matters should be shared with the local community if there is to be any confidence in the project and in the scope for its effective delivery if approved in due course. In the present circumstances, it is once again difficult to see how any architect can provide sound and realistic options for the development of the site in the absence of such a brief, including an independent analysis of the site and its broader setting, identifying their particular architectural and historic interest, character, appearance and significance. Without such a brief and site assessment, the exhibited sketch-proposals cannot carry any real conviction. It is quite extraordinary for any prospective developer, let alone a local authority, to give an entirely ‘open-brief’ to an architect to explore the development potential of land in public ownership - not least, land of such strategic and heritage significance and potential commercial value. It is to be hoped that the appointed architects have been encouraged or required to adhere to relevant national, London-wide and local planning and conservation policies, and to the Council’s supplementary planning guidance, and to the relevant, published guidance of Historic England and CABE. The assurance provided in the separate, one-page ‘Twickenham Rediscovered: Frequently Asked Questions (FAQs)’ document that ‘the development will provide affordable housing’ and that ‘the Council is committed to delivering affordable housing on site’ is to be keenly welcomed. However, it is to be noted that ‘the number of affordable (units) is still to be 2 determined. It is to be hoped that this commitment should not be withdrawn at a later stage and affordable housing provision transferred to another site or omitted altogether in favour of a payment in lieu to the Council. Of particular concern is the lack of clarity regarding the location and extent of floor-space within Blocks A and/or B intended for business and community-related uses. Given the past history of the site, previous but aborted development proposals, and the continuing and substantial interest in reinstating a publicly accessible lido facility on the site, it is disappointing that greater attention has not been given to defining the scope to incorporate appropriate community facilities in the development. Finally, given the Council’s stated intention to submit an application for Planning Permission by the end of October, further to pre-planning consultation in September, there is a vast amount of detailed work that needs to be undertaken by the Council’s professional team to review, revise and develop the recently exhibited outline drawings and other material in sufficient detail to provide the basis for further public consultation – let alone to support a sound application for full Planning Permission. THE DESIGN ASPECTS OF THE LATEST PROPOSALS Given the fundamental deficiencies of the original proposals presented for consultation in November and December, 2015, and the clearly expressed critical comments raised by the local and broader communities, and the deficiencies in the revised proposals presented for consultation in November and December, 2016, which drew similar critical comment, it is disappointing that the latest proposals retain a number of the unresolved or unsatisfactory aspects of those earlier schemes. Not only does the external design of parts of the proposed buildings lack authenticity and conviction, and thus requires substantial review and revision, but the quality and sensitivity of the landscape design of the extensive open areas within and adjacent to the site has still to be demonstrated. Disappointingly, despite the sound reputation of Quinlan Terry, reflected in key aspects of the work of the Erith and Terry practice in the award-winning Richmond Riverside Development of 1984-1988, the scale and design of the earlier schemes and of the latest scheme for the Twickenham Riverside Site prepared by Quinlan and Francis Terry and Francis Terry and Associates respectively, do not share the same quality of classical design clearly discernible in the Richmond scheme. If a traditional architectural approach is to be adopted, then it should demonstrate a sound understanding of the scale and design of the local vernacular, and of the English Georgian architectural tradition in particular. Such an understanding is still not discernible in many parts of the latest proposals. Importantly, too, the scheme fails to retain the existing, modest scale of the upper part of Water Lane, let alone to reinstate the historic, modest scale of its lower part. 3 THE DESIGN OF THE PROPOSED DEVELOPMENT FRONTING KING STREET Fundamental deficiencies are reflected in the excessive scale of the proposed four-part development fronting King Street (Block A) which rises by the equivalent of almost two- storeys above the deeply projecting eaves of the existing, three-storey, 1930s, retail and residential building immediately to the south-west (nos. 3 to 33 (consec.), King Street) and dwarfs the two-storey historic and other buildings at the corner of Water Lane and Church Street, and the modestly scaled and sensitively designed, modern housing that extends down the north-eastern side of Water Lane (no. 5 and nos. 7 to 21 (odd), Water Lane). Ironically, the former, three-storey, 1930s King’s Head Public House that stood on the site at the corner of King Street and Water Lane until demolished about thirty years ago, performed a very much more successful townscape and architectural role than the presently proposed buildings. The proportions and design of the ground and third floor storeys of the proposed two-bay building adjacent to the existing, three-storey, 1930s building fronting King Street are entirely unsatisfactory.
Load more

Recommended publications
  • An Introduction to Architectural Theory Is the First Critical History of a Ma Architectural Thought Over the Last Forty Years
    a ND M a LLGR G OOD An Introduction to Architectural Theory is the first critical history of a ma architectural thought over the last forty years. Beginning with the VE cataclysmic social and political events of 1968, the authors survey N the criticisms of high modernism and its abiding evolution, the AN INTRODUCT rise of postmodern and poststructural theory, traditionalism, New Urbanism, critical regionalism, deconstruction, parametric design, minimalism, phenomenology, sustainability, and the implications of AN INTRODUCTiON TO new technologies for design. With a sharp and lively text, Mallgrave and Goodman explore issues in depth but not to the extent that they become inaccessible to beginning students. ARCHITECTURaL THEORY i HaRRY FRaNCiS MaLLGRaVE is a professor of architecture at Illinois Institute of ON TO 1968 TO THE PRESENT Technology, and has enjoyed a distinguished career as an award-winning scholar, translator, and editor. His most recent publications include Modern Architectural HaRRY FRaNCiS MaLLGRaVE aND DaViD GOODmaN Theory: A Historical Survey, 1673–1968 (2005), the two volumes of Architectural ARCHITECTUR Theory: An Anthology from Vitruvius to 2005 (Wiley-Blackwell, 2005–8, volume 2 with co-editor Christina Contandriopoulos), and The Architect’s Brain: Neuroscience, Creativity, and Architecture (Wiley-Blackwell, 2010). DaViD GOODmaN is Studio Associate Professor of Architecture at Illinois Institute of Technology and is co-principal of R+D Studio. He has also taught architecture at Harvard University’s Graduate School of Design and at Boston Architectural College. His work has appeared in the journal Log, in the anthology Chicago Architecture: Histories, Revisions, Alternatives, and in the Northwestern University Press publication Walter Netsch: A Critical Appreciation and Sourcebook.
    [Show full text]
  • Institute of Classical Architecture & Art PRIVATE LONDON May 22 – 27
    Institute of Classical Architecture & Art PRIVATE LONDON May 22 – 27, 2019 Arranged by Classical Excursions Spencer House, St. James Place. Photo: Wikipedia. OVER THE YEARS the Institute of Classical Architecture & Art in collaboration with Classical Excursions has sponsored extraordinary and inspiring classical architectural tours held throughout England, Scotland and Ireland. Turning to the UK’s world-renowned capital, we invite you to join us for several exceptional days touring Private London, May 22 – 27, 2019. The great and diverse city with lasting imperial connotations, as well as a major financial and trade center developed over centuries, is the background for a wealth of superb traditional architecture and design. With this in mind, the tour will take in an array of important sites, from opulent city residences to creative designer flats. Having led two highly successful architectural tours for ICAA, Clive Aslet, renowned architectural historian, author of twenty books, journalist and former editor-in-chief of Country Life magazine, will carry on with the six-day London tour. Special events including private dinners will take place at such sites as the fabulous Sir John Soane’s Museum; spectacular Syon House; House of St. Barnabas Club, a building dating from the 1740s with its fine example of English Rococo-style plasterwork, and the Camden home of architect John and Erica Simpson. Overnight accommodations have been arranged at the historic, newly refurbished, five-star Dukes Hotel located on St. James Square in the heart of elegant Mayfair. SELECTED HIGHLIGHTS Belonging to the family whose daughter was Diana, Princess of Wales, Spencer House at St.
    [Show full text]
  • Prospectus 2006.1.Indd
    I•N•T•B•A•U International Network for Traditional Building, Architecture & Urbanism Patron: His royal highness THE PRINCE OF WALES P ro s p e c t u s Dr Matthew Hardy • Aura Neag London • May 2006 Produced by Dr Matthew Hardy and Aura Neag for the International Network for Traditional Building Architecture & Urbanism © INTBAU 2006 all rights reserved # Contents Char ter A personal message from our Patron, His Royal Highness The Prince of Wales 1. Introduction 1.1 INTBAU 1.2 Need for INTBAU 1.3 Support for INTBAU 1.4 Charter 1.5 Committee of Honour 1.6 Chapters 1.7 Patron 1.8 Income 2. Membership 2.1 General Membership 2.2 Higher Membership 2.3 INTBAU College of Traditional Practitioners ICTP 3. Activities 4. Recent projects 5. Future projects 6. How you can support INTBAU 7. Appendices 7.1 Organisational structure diagrams 7.2 Members of Board 7.3 Members of Committee of Honour 7.4 Members of Management Committee 3 Charter The International Network for Traditional Building, Architecture and Urbanism is an active network of individuals and institutions dedicated to the creation of humane and harmonious buildings and places that respect local traditions. • • • • • Traditions allow us to recognise the lessons of history, enrich our lives and offer our inheritance to the future. Local, regional and national traditions provide the opportunity for communities to retain their individuality with the advance of globalisation. Through tradition we can preserve our sense of identity and counteract social alienation. People must have the freedom to maintain their traditions. Traditional buildings and places maintain a balance with nature and society that has been developed over many generations.
    [Show full text]
  • Robert Adam 2017 Laureate
    Robert Adam 2017 Laureate Contents Press Release ……………………………………………………………… 2 Images …………………………………………………………………….. 4 Driehaus Prize ……………………………………………………………. 13 Ceremony Choregic Monument Past Laureates Henry Hope Reed Award …………………………………………………. 14 Medal Past Recipients Jury ……………………………………………………………………….. 15 Press Release Robert Adam named 15th Richard H. Driehaus Prize Laureate James S. Ackerman posthumously presented the Henry Hope Reed Award Robert Adam, an architect known for his scholarship as well as his practice, has been named the recipient of the 2017 Richard H. Driehaus Prize at the University of Notre Dame. Adam, the 15th Driehaus Prize laureate, will be awarded the $200,000 prize and a bronze miniature of the Choregic Monument of Lysikrates during a ceremony on March 25 (Saturday) in Chicago. In conjunction with the Driehaus Prize, the $50,000 Henry Hope Reed Award, given annually to an individual working outside the practice of architecture who has supported the cultivation of the traditional city, its architecture and art, will be presented posthumously to architectural historian James S. Ackerman. Additionally, on the occasion of the 15th anniversary of the Driehaus Prize, the jury has elected to honor the Congress for the New Urbanism (CNU) with a special award for contributions to the public realm. “Throughout his career, Robert Adam has engaged the critical issues of our time, challenging contemporary attitudes toward architecture and urban design. He has written extensively on the tensions between globalism and regionalism as we shape our built environment,” said Michael Lykoudis, Driehaus Prize jury chair and Francis and Kathleen Rooney Dean of Notre Dame’s School of Architecture. “Sustainability is at the foundation of his work, achieved through urbanism and architecture that is respectful of local climate, culture and building customs.” Adam received his architectural education at Westminster University and was a Rome Scholar in 1972–73.
    [Show full text]
  • Neoclassical Architecture 1 Neoclassical Architecture
    Neoclassical architecture 1 Neoclassical architecture Neoclassical architecture was an architectural style produced by the neoclassical movement that began in the mid-18th century, both as a reaction against the Rococo style of anti-tectonic naturalistic ornament, and an outgrowth of some classicizing features of Late Baroque. In its purest form it is a style principally derived from the architecture of Classical Greece and the architecture of Italian Andrea Palladio. The Cathedral of Vilnius (1783), by Laurynas Gucevičius Origins Siegfried Giedion, whose first book (1922) had the suggestive title Late Baroque and Romantic Classicism, asserted later[1] "The Louis XVI style formed in shape and structure the end of late baroque tendencies, with classicism serving as its framework." In the sense that neoclassicism in architecture is evocative and picturesque, a recreation of a distant, lost world, it is, as Giedion suggests, framed within the Romantic sensibility. Intellectually Neoclassicism was symptomatic of a desire to return to the perceived "purity" of the arts of Rome, the more vague perception ("ideal") of Ancient Greek arts and, to a lesser extent, sixteenth-century Renaissance Classicism, the source for academic Late Baroque. Many neoclassical architects were influenced by the drawings and projects of Étienne-Louis Boullée and Claude Nicolas Ledoux. The many graphite drawings of Boullée and his students depict architecture that emulates the eternality of the universe. There are links between Boullée's ideas and Edmund Burke's conception of the sublime. Pulteney Bridge, Bath, England, by Robert Adam Ledoux addressed the concept of architectural character, maintaining that a building should immediately communicate its function to the viewer.
    [Show full text]
  • Premios Richard H. Driehaus Y Becas Donald Gray De Las Artes De La Construcción Richard H
    EXPOSICIÓN EXHIBITION Las tradiciones constructivas, con su mayor respeto por el medioambiente y Building traditions, which pursue a greater respect for the environment and its sus recursos naturales, ofrecen soluciones para algunos de los principales natural resources, respond to some of the main challenges we face in our time, retos de nuestro tiempo, tales como la desaparición progresiva de las oportu- such as the progressive disappearance of quality job opportunities, the grow- nidades de empleo de calidad, la creciente generación de residuos y entornos ing generation of waste and toxic environments, the dissolution of the kind of tóxicos, la disolución del tipo de espacios públicos que están diseñados para public spaces which are designed to favour interchange and coexistence, the favorecer el intercambio y la convivencia, el desequilibrio que sufre el medio unbalance the rural areas are suffering, or the persistence of planning practic- rural o la persistencia de prácticas de planeamiento que conducen a una ma- es which lead to a serious dependence on private transport. yor dependencia del transporte privado. In order to recover the lost balance it is essential to keep this knowledge alive, Mantener vivos estos conocimientos, tomarlos como referencia para la cons- to use it as a reference for the practice of 21st century building, architecture trucción, la arquitectura y el urbanismo del siglo XXI, adecuarlos a los reque- and urbanism, to adapt it to the needs of our time, and to learn the many les- rimientos de nuestro tiempo y extraer de ellos cuantas lecciones siguen ofre- sons it keeps offering for the way we design and transform our environment.
    [Show full text]
  • Council Report VII on Green Architecture and Urbanism
    CNU COUNCIL REPORT VII ON GREEN ARCHITECTURE AND URBANISM NOVEMBER 30 – DECEMBER 2, 2007 MARCH 2008 PAGE 1 C OUN C IL REPO R T VII INSIDE Contributors Good New Bad News ................................. 2 Green Urbanism and the Long View ......... 4 ROBERT ADAM co-founded Winchester Design in 1986, which career to the building, study and promotion of traditional architec- Canons of Sustainable Architecture and became known as Robert Adam Architects in 2000. His contribution ture and urbanism. His second book, “Modernity, Modernism and Urbanism ............................................ 6 to the classical tradition is internationally acknowledged, both as a the Other Modern,” is forthcoming from W.W. Norton & Co. scholar and as a designer of traditional and progressive classical ar- The Green Mile: Aligning Firm Ideology chitecture. Adam founded the International Network for Tradi- JOHN MASSENGALE is principal of John Montague Massengale with Sustainability .............................. 8 tional Building, Architecture & Urbanism (INTBAU) in 2000. He AIA Architecture & Urbanism, a collaborative practice in downtown A Convenient Remedy to the Inconvenient is a Royal Institute of British Architects councillor, and was previ- New York, and teaches at the universities of Notre Dame and Miami. Truth ................................................. 10 ously an advisor to the Commission for Architecture & the Built He has won awards for architecture, urbanism, historic preservation Environment (CABE) and English Heritage. and architectural history from a broad range of organizations and pub- The Marketing of Sustainable lications. Massengale is a board member of the Institute of Classical Communities .................................... 11 BEN BOLGAR is the director of design theory and networks at the Architecture & Classical America and chairman of CNU New York, Planning Sustainably – Without a Crystal Prince’s Foundation.
    [Show full text]
  • The Future of Classicism by Clive Aslet
    Features June 2018 The future of classicism by Clive Aslet On the state and prospect of classical architecture. lassicism is a broad river that has run through Western architecture for two-and-a-half C millennia. A generation ago it seemed that the stream had reduced to a trickle. Only a small phalanx of recondite architects really understood the classical language of architecture; they were generally employed by private patrons whose social as well as architectural ideas were not at the cutting edge. And yet now, if not quite in full spate, the river has recaptured a degree of vigor. The flow has quickened, the banks are beginning to brim. What has happened, and what does the future hold? Since this represents a revival, a word should be said on this subject at the outset. Revivals are a constant—indeed inevitable—theme of classical architecture, to the point of being almost a defining feature. Even Greek architecture, later regarded as the fons et origo of the classical system, evolved out of—and harked back to—an ancient tradition, now lost. It may have been deliberately archaic, using past forms beyond their natural sell-by date. To engineers, post-and-lintel construction, which forms the basis of all Greek architecture, is inferior to the arch, which can be built cheaper, using smaller pieces of stone. And yet the Greeks cannot have used it in ignorance of the arch; arches were being used elsewhere in the ancient world and travelers must have seen them. Trabeation had a meaning for the Greeks, perhaps rooted in earlier phases of their culture.
    [Show full text]
  • This Item Is the Archived Peer-Reviewed Author-Version Of
    This item is the archived peer-reviewed author-version of: Change trumps tradition : the Atlantis project of Léon Krier, 1986-1992 Reference: Verbruggen Sven.- Change trumps tradition : the Atlantis project of Léon Krier, 1986-1992 Journal of architecture - ISSN 1360-2365 - 22:7(2017), p. 1230-1256 Full text (Publisher's DOI): https://doi.org/10.1080/13602365.2017.1377749 To cite this reference: https://hdl.handle.net/10067/1461130151162165141 Institutional repository IRUA 2,1:69:,8 2,9:8-88:: Sven Verbruggen Affiliated with the University of Antwerp and the University of Ghent (Author’s email address: [email protected]) ABSTRACT In 1986, Hans-Jürgen Müller commissioned Léon Krier to design the Atlantis project. Müller, the owner of an art gallery in Germany, planned to host think-tanks at a remote location in Tenerife. His plan was to foster the preservation of European culture, one that for Müller sets standards for proper manners and good behaviour through art and cultural activities. The artistic and architectural setting mediated and cultivated these standards, the demise of which caused the crisis Müller saw in the world. For Krier the project was affiliated with the Rational Architecture exhibition of 1973 and the Reconstruction of the European City Movement. The reception of the Atlantis project is coloured by three factors. First, from the beginning of the 1970s to the early 1990s, Krier went from being included in a select group of AA School teachers, to becoming an outsider of that same group and its intellectual sphere. Second, the client for the project wanted to be a pioneer in the cultural sector and use its larger socio-political influence for ideological purposes.
    [Show full text]
  • Nuovo Classicismo: L'architettura Come Senso Di Appartenenza
    Nuovo classicismo: l’architettura come senso di appartenenza Nuovo classicismo: l’architettura come senso di appartenenzadi Giuseppe Baiocchi e Liliane Jessica Tami del 28/02/2019 L’architettura post-moderna detiene oramai, dagli anni sessanta del Novecento, un primato incontrastato sia all’interno delle Accademie Universitarie, sia nel primato delle costruzioni. Nonostante tale indirizzo dottrinale sia molto marcato, timidamente, con quieta grandezza e sobria eleganza, diversi architetti hanno riscoperto le forme e le armonie dell’architettura classica e revivalista.I più importanti teorici del nuovo stile architettonico, denominato Neourbanesimo e Nuovo Classicismo, sono Pier Carlo Bontempi (1954), Quinlan Terry (1937) e Léon Krier (1946), quest’ultimo architetto di fiducia del principe di Galles Charles Philip Arthur George Mountbatten-Windsor (1948). Nella foto da sinistra a destra: Pier Carlo Bontempi (Fornovo di Taro, 1954) è un architetto italiano, esponente del Neourbanesimo e del Nuovo classicismo. Egli pone una particolare enfasi in merito al contesto urbano e alla continuità con le tradizioni architettoniche; John Quinlan Terry CBE (24 luglio 1937 a Hampstead) è un architetto britannico. È stato educato alla Bryanston School e alla Architectural Association . Era un allievo dell’architetto Raymond Erith , con il quale ha formato la partnership Erith & Terry; Léon Krier (7 aprile 1946) è un architetto lussemburghese , teorico dell’architettura e urbanista , il primo e più importante critico del Modernismo architettonico e fautore di New Traditional Architecture e New Urbanism . In un’epoca svuotata dall’elemento del sacro, dal modesto studio dei luoghi e da una approssimativa progettazione in moduli, il gusto irrazionale è arrivato ad erigere il brutalismo e il parametrismo.
    [Show full text]
  • Building a World of References
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Ghent University Academic Bibliography BUILDING A WORLD OF REFERENCES Reinhold Martin’s Utopian Realism into Practice: Counterprojects revisited Sven Verbruggen UNIVERSITY COLLEGE ANTWERP, DESIGN SCIENCE, BELGIUM Keywords Architectural criticism Drawn Manifestos Counterprojects Utopian Realism into practice Design craft Research studio Introduction For an architectural apprentice the years of education are but a small window to get acquainted with some of architecture’s large history. It is the responsibility of academic staff to provide a most effective filter for any apprentice to build a world of refer- ences. Architectural theory and critique are such filters that allow an apprentice to cope with various architectural discourses. However, when dealing with the design craft, such a filter is much harder to provide. It should be a methodological tool, an in- quiry device that integrates an equivalent of critique into the act of designing. It should allow an apprentice to recognize which contingent design decisions are legitimate – for his own designs as well as for designs of others. To propose such a filter I will combine elements from Reinhold Martin’s1 essay Critical of What? (2005), with elements from Isabelle Doucet’s2 historical read- ing Understanding Postmodernism in Practice (2012). When Reinhold Martin called for Utopian Realism (Martin 2005) this was primarily a breaking away move in the criticality debate.3 Martin suggested to reinstate the concept of utopia as a mediator or filter to the otherwise unrestrained realism he associates with the post-critical. While building his case, Martin intelligibly refers to Colin Rowe and Jacques Derrida to redefine and re-enact utopia within architectural critique.
    [Show full text]
  • Arthur Ross Awards, 1982-2021
    THE ARTHUR ROSS AWARDS, 1982-2021 The Arthur Ross Awards have been presented annually since 1982 in recognition of important contributions to and achievements in preserving and advancing the classical tradition in art and architecture, artisanship, community design, education, history, landscape architecture/gardening, mural painting/painting, patronage, rendering, sculpture, and stewardship/good manners. As of 2013 the category of Interior Design is included. LIST OF AWARDEES ARCHITECTURE 1982 Philip Trammell Shutze, Atlanta, GA 1983 Edward Vason Jones, Albany, GA 1983 Samuel Wilson, Jr., New Orleans, LA 1984 Rurik F. Eckstrom, Wiley and Wilson Architects, Richmond, VA 1984 W. Knight Sturges, New York, NY 1984 David Anthony Easton, New York, NY 1985 Douglas L. Greene and David Warren Hardwicke, Wiley and Wilson Architects, Richmond, VA 1985 A. Hays Town, Baton Rouge, LA 1986 William Frank McCall, Jr., Moultrie, GA 1986 Thomas C. Celli, Shahi Patel, and Robert T. Meeker, Celli-Flynn and Associates, Harrisburg, PA 1987 Norman Neuerberg, Los Angeles, CA 1987 David T. Mayernik and Thomas N. Rajkovich, New York, NY, and Chicago, IL 1988 Frank Garretson, Sheffield, MA 1988 David Anthony Easton, New York, NY 1989 Floyd E. Johnson, Charlottesville, VA 1990 Allan Greenberg, New Haven, CT, and Washington, D.C. 1991 Boris Baranovich, New York, NY 1991 Robert A. M. Stern, New York, NY 1992 Sherman Pardue, Charlotte, NC 1992 Thomas H. Beeby, Chicago, IL 1993 William T. Baker, Atlanta, GA 1994 George M. White, Washington, D.C. 1994 Ernesto Buch, New Haven, CT 1995 Jaquelin Taylor Robertson, New York, NY 1996 Robert I. Cole, Montgomery, AL 1997 Milton Grenfell, Charlotte, NC 1998 Joseph Dixon III, New York, NY 1998 Neil E.
    [Show full text]