Curriculum Vitae for Professor Peter Blundell Jones
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The British Library
PUBLIC SPACE AND THE ROLE OF THE ARCHITECT London Modernist Case Study Briefing (c. 2016 FABE Research Team, University of Westminster) THE BRITISH LIBRARY CONTENTS SUMMARY………………………………………………... .......... 3 1. BUILDING CHRONOLOGY……………………………......... 4 2. POLICY AND IDEOLOGY………………………………........ 7 3. AGENTS……………………………………………………….. 12 4. BRIEF…………………………………………………….......... 14 5. DESIGN…………………………………………………………16 6. MATERIALS/CONSTRUCTION/ENVIRONMENT 22 7. RECEPTION…………………………………………….......... 22 BIBLIOGRAPHY………………………………………….……… 26 PROJECT INFORMATION Case Study: The British Library, 96 Euston Rd, London NW1 2DB Dates: 1962 - 1998 (final plan 1977, build 1982-1999, staggered opening November 1997- June 1999) Architects: Colin St John Wilson with M.J. Long, John Collier, John Honer, Douglas Lanham, Peter Carolin Client: The British Museum, then The British Library (following Act of Parliament 1972) Contractors: Phase 1A, Laing Management Contracting Ltd. Completion phase, McAlpine/Haden Joint Venture Financing: National government Site area: 112,643 m2 (building footprint is 3.1 hectares, on a site of 5 hectares) Tender price: £511 million. Budget overrun: £350 million 2 SUMMARY The British Library, the United Kingdom’s national library and one of six statutory legal depositories for published material, was designed and constructed over a 30-year period. It was designed by Colin St John Wilson (1922 – 2007) with his partner M J Long (1939 – ), and opened to the public in 1997. As well as a functioning research library, conference centre and exhibition space, the British Library is a national monument, listed Grade I in 2015. Brian Lang, Chief Executive of the British Library during the 1990s, described it as “the memory of the nation’, there to ‘serve education and learning, research, economic development and cultural enrichment.’1 The nucleus of what is now known as the British Library was, until 1972, known as the British Museum Library. -
St Cross Building, 612/24/10029 University of Oxford
St. Cross Building Conservation Plan May 2012 St. Cross Building, Oxford Conservation Plan, May 2012 1 Building No. 228 Oxford University Estates Services First draft March 2011 This draft May 2012 St. Cross Building, Oxford Conservation Plan, May 2012 2 THE ST. CROSS BUILDING, OXFORD CONSERVATION PLAN CONTENTS 1 INTRODUCTION 7 1.1 Purpose of the Conservation Plan 7 1.2 Scope of the Conservation Plan 8 1.3 Existing Information 9 1.4 Methodology 9 1.5 Constraints 9 2 UNDERSTANDING THE SITE 13 2.1 History of the Site and University 13 2.2 Design, Construction, and Subsequent History of the St. Cross 14 Building 3 SIGNIFICANCE OF THE ST. CROSS BUILDING 21 3.1 Significance as part of the Holywell suburb, and the Central (City 21 and University) Conservation Area 3.2 Architectural Significance 24 3.3 Archaeological Significance 26 3.4 Significance as a major library and work space 27 3.5 Historical Significance 27 4 VULNERABILITIES 31 4.1 Access 31 4.2 Legibility 32 4.3 Maintenance 34 St. Cross Building, Oxford Conservation Plan, May 2012 3 4.4 Health and Safety 40 5 CONSERVATION POLICY 43 6 BIBLIOGRAPHY 51 7 APPENDICES 55 Appendix 1: Listed Building Description 55 Appendix 2: Conservation Area Description 57 Appendix 3: Chronology of the St. Cross Building 61 Appendix 4: Checklist of Significant Features 63 Appendix 5: Floor Plans 65 St. Cross Building, Oxford Conservation Plan, May 2012 4 St. Cross Building, Oxford Conservation Plan, May 2012 5 THIS PAGE HAS BEEN LEFT BLANK St. Cross Building, Oxford Conservation Plan, May 2012 6 1 INTRODUCTION The St. -
He Big “Mitte-Struggle” Politics and Aesthetics of Berlin's Post
Martin Gegner he big “mitt e-struggl e” politics and a esth etics of t b rlin’s post-r nification e eu urbanism proj ects Abstract There is hardly a metropolis found in Europe or elsewhere where the 104 urban structure and architectural face changed as often, or dramatically, as in 20 th century Berlin. During this century, the city served as the state capital for five different political systems, suffered partial destruction pós- during World War II, and experienced physical separation by the Berlin wall for 28 years. Shortly after the reunification of Germany in 1989, Berlin was designated the capital of the unified country. This triggered massive building activity for federal ministries and other governmental facilities, the majority of which was carried out in the old city center (Mitte) . It was here that previous regimes of various ideologies had built their major architectural state representations; from to the authoritarian Empire (1871-1918) to authoritarian socialism in the German Democratic Republic (1949-89). All of these époques still have remains concentrated in the Mitte district, but it is not only with governmental buildings that Berlin and its Mitte transformed drastically in the last 20 years; there were also cultural, commercial, and industrial projects and, of course, apartment buildings which were designed and completed. With all of these reasons for construction, the question arose of what to do with the old buildings and how to build the new. From 1991 onwards, the Berlin urbanism authority worked out guidelines which set aesthetic guidelines for all construction activity. The 1999 Planwerk Innenstadt (City Center Master Plan) itself was based on a Leitbild (overall concept) from the 1980s called “Critical Reconstruction of a European City.” Many critics, architects, and theorists called it a prohibitive construction doctrine that, to a certain extent, represented conservative or even reactionary political tendencies in unified Germany. -
Pallant House Gallery
__ The Economic Contribution of Pallant House Gallery 16 June 2016 Contents 5. Economic Model ............................................................................... 20 5.1 Additionality Analysis .......................................................................... 21 1. Executive Summary ........................................................................... 3 5.2 Economic Multipliers ........................................................................... 23 1.1 Growing Organisation ........................................................................... 3 5.3 GVA and FTE Conversion .................................................................. 23 1.2 Dedicated Audience ............................................................................. 3 5.4 Economic Modelling Results ............................................................... 24 1.3 Overall Economic Impact ..................................................................... 3 5.4.1 Audience Analysis ............................................................................... 24 1.4 Expansion since 2008 .......................................................................... 4 5.4.2 Organisation Analysis ......................................................................... 25 2. Introduction ........................................................................................ 5 5.4.3 Overall Assessment ............................................................................ 25 2.1 Methodological Overview .................................................................... -
Le Corbusier in Berlin, 1958: the Universal and the Individual in the Unbuilt City
DOI: http://dx.doi.org/10.4995/LC2015.2015.921 Le Corbusier in Berlin, 1958: the universal and the individual in the unbuilt city M. Oliveira Eskinazi Faculdade de Arquitetura e Urbanismo, Universidade Federal do Rio de Janeiro. Programa de Pós-Graduação em Urbanismo, Universidade Federal do Rio de Janeiro Abstract: Among several urban plans designed for Berlin, we find Le Corbusier`s project for the Hauptstadt Berlin 1958 competition, which aimed at thinking the reconstruction of the city center destroyed in the II World War. Corbusier`s relation with Berlin dates back to 1910, when he arrives at the city to work at Peter Behrens` office. So, for him, the plan for Berlin was a rare opportunity to develop ideas about the city that provided one of the largest contributions to his urban design education, and also to develop ideas he formulated forty years before for Paris` center. Besides that, this project was developed almost simultaneously with CIAM`s crises and dissolution, which culminated in the 50`s with the consequent appearance of Team 10. At that moment Corbusier`s universalist approach to urbanism starts to be challenged by CIAM`s young generation, which had a critical approach towards the design methods inherited from the previous generation, associated with CIAM`s foundational moment. From the beginning of the 50`s on, this new generation balances the universalist ideals inherited from the previous generation with individualist ones they identified as necessary to face the new post war reality. Thus, the main goal of this paper is to analyse Corbusier’s design for Berlin and question whether he, at an already mature point of his career, was proposing a plan that answered only the questions that were important to CIAM and to the canonical principles of modern architecture, or if he had also addressed those that belonged to the new generation and Team 10`s agenda, both of them present in the debates of the moment, largely identified as a transitional period. -
Hans Scharoun and Frank Gehry
1997 ACSA EUROPEAN CONFERENCE t BERLIN HANS SCHAROUN AND FRANK GEHRY TWO 61CONOCLASTS99SEEKING FORM FOR THE MODERN INSTITUTION GUNTER DITTMAR University of Minnesota Introduction support" he received "fromthe artists, which I was not Hans Scharoun and Frank Gehry, two architects gettingfrom the architects. The architects thought I was seemingly very distant in time, place and culture, weird."3 nevertheless, show striking parallels and similarities in The influence of art seems readily apparent in the their careers, their work, and their approach to dynamic, sculptural quality of their work. It is this very architecture. More than a generation apart and practicing quality, however, that is responsible for a great deal ofthe at radically different times and locations - Scharoun misunderstanding and misrepresentation by critics, before and after World War 11, mostly in Berlin, Gehry professional peers, theorists and historians. Using from the sixties to the present - the context and simplistic, descriptive labels,the work is characterized as circumstances withinwhich they developed their mature "expressionist"in Scharoun's case, or "neo-expressionist" architectural work, and the issues they confronted,were in Gehry's. Implicit is the notion that it is "irrational," remarkably similar. '(formalistic,"lacking any intellectual merit or rigor, the Scharoun, in his formative years during the two wars, result of self-indulgent,personal expression; that it is all played an active role in the avant-garde movement that, about style and not substance; -
The 1963 Berlin Philharmonie – a Breakthrough Architectural Vision
PRZEGLĄD ZACHODNI I, 2017 BEATA KORNATOWSKA Poznań THE 1963 BERLIN PHILHARMONIE – A BREAKTHROUGH ARCHITECTURAL VISION „I’m convinced that we need (…) an approach that would lead to an interpretation of the far-reaching changes that are happening right in front of us by the means of expression available to modern architecture.1 Walter Gropius The Berlin Philharmonie building opened in October of 1963 and designed by Hans Scharoun has become one of the symbols of both the city and European musical life. Its character and story are inextricably linked with the history of post-war Berlin. Construction was begun thanks to the determination and un- stinting efforts of a citizens initiative – the Friends of the Berliner Philharmo- nie (Gesellschaft der Freunde der Berliner Philharmonie). The competition for a new home for the Berlin Philharmonic Orchestra (Berliner Philharmonisches Orchester) was won by Hans Scharoun whose design was brave and innovative, tailored to a young republic and democratic society. The path to turn the design into reality, however, was anything but easy. Several years were taken up with political maneuvering, debate on issues such as the optimal location, financing and the suitability of the design which brought into question the traditions of concert halls including the old Philharmonie which was destroyed during bomb- ing raids in January 1944. A little over a year after the beginning of construction the Berlin Wall appeared next to it. Thus, instead of being in the heart of the city, as had been planned, with easy access for residents of the Eastern sector, the Philharmonie found itself on the outskirts of West Berlin in the close vicinity of a symbol of the division of the city and the world. -
From Islands of Knowledge to Districts of Innovation Katharina Borsi* And
Typologies of KnowledgeUniversities and the City: from Islands of Knowledge to Districts of Innovation Katharina Borsi* and Chris Schulte aDepartment of Architecture and Built Environment, University of Nottingham, Nottingham, UK; bDepartment of Architecture and Built Environment, University of Nottingham, Nottingham, UK Dr Katharina Borsi Department of Architecture and Built Environment University Park Nottingham NG7 2RD UK Telephone: 0115 95 13172 Email: [email protected] ORCID ID: orcid.org/0000-0001-6745-3547 Typologies of KnowledgeUniversities and the City: from Islands of Knowledge to Districts of Innovation We are witnessing a new trend in the design of university buildings and other ‘knowledge typologies’, that is, buildings in which knowledge is produced or disseminated, such as university buildings, research laboratories or libraries. Increasingly, their design inverts the image of the closed ‘ivory tower’ through a layered intersection of inside and outside spaces, seeking to draw the life of the city and the life of the institution closely together. Using London’s ‘Knowledge Quarter’ centred in Bloomsbury, Euston and King’s Cross as a focus, this paper traces a trajectory of typological evolution of university buildings which includes Adams, Holden and Pearson’s ‘ivory tower’ project for a new headquarter of the University of London (1932), of which only Senate House was built; Leslie Martin’s and Trevor Dannatt’s radical restructuring of the Georgian urban structure through the Development Plan of the University of London (1959); Denys Lasdun’s evolution and typological reworking of this plan through the Institute of Education (1970–1976) and the library of SOAS (1970-1973); Colin St John’s Wilson’s British Library (1982 - 1999); and Stanton Williams’ Central St Martins (2008- 2011). -
The British Library at St Pancras Building the Future
The British Library at St Pancras Building the future Second Edition Introduction: an evolving building In 2015 we published Living Knowledge, our We want the Library – one of the great public This brochure shares our vision to reorient and eight-year strategy which has at its heart a vision of buildings of the 20th century and Grade I listed – to expand our magnificent building’s capabilities so the British Library becoming the most open, creative evolve into one of the world’s great knowledge hubs that we are better able to anticipate and meet the and innovative institution of its kind in the world for the 21st century. Our physical spaces are now needs of our users, our local community and the by the time of our 50th anniversary in 2023. Our reaching capacity and our exhibition galleries are wider national and international network of libraries. ambitions for our St Pancras site are central to able to display only a fraction of the treasures that Working in tandem with our other major facility at achieving that vision. we hold. The huge success of recent exhibitions Boston Spa in Yorkshire, we want St Pancras to drive on Magna Carta, 20th Century Maps, the the next stage of the British Library’s evolution as a Since we opened our doors on Monday 24 November Russian Revolution and Harry Potter highlights global player in the knowledge economy. 1997, the British Library at St Pancras has become a growing public appetite for engaging with our an icon of the information age. The architect of this collection – if we could only expose a greater It’s a once-in-a-generation opportunity to transform remarkable building, the late Sir Colin St John Wilson proportion of it, whether on-site or online. -
Potsdamer Platz & Tiergarten
©Lonely Planet Publications Pty Ltd 111 Potsdamer Platz & Tiergarten POTSDAMeR PLATZ | KuLTuRFORuM | TIeRGARTeN | DIPLOMATeNvIeRTeL Neighbourhood Top Five 1 Feeling your spirit soar zling a cold one in a beer to the Nazis and often paid while studying an Aladdin’s garden. the ultimate price at the cave of Old Masters at the 3 Stopping for coffee and Gedenkstätte deutscher magnificent Gemälde- people-watching beneath widerstand (p121). galerie (p116). the magnificent canopy of 5 Catching Europe’s fastest 2 Getting lost amid the the svelte glass-and-steel lift to the panoramapunkt lawns, trees and leafy sony center (p113). (p114) to admire Berlin’s paths of the Tiergarten 4 Learning about the impressive cityscape. park (p125), followed by guz- brave people who stood up Platz der Republik Paulstr er Jo str 6666666Spree Riv hn-Fost 66e Scheidemann er -Dulles-Al l e 000 eg 000 w 000Pariser ee 000 pr 000Platz S 000 Grosser Strasse des 17 Juni T 222 Stern i Bellevueallee e 222 r 6666666666g 222 TIERGARTEN a r 222Holocaust t e 222r Memorial Hofjägerallee n t t 222 s u n rt n e e b l ##÷ Luiseninsel r E 2 Rousseauinsel ést Lenn Bellevuestr 66666666Vossstr Potsdamer str Tiergarten Platz K 3##æ l #æ r i n r Str t dame g ts #æ s Po 5# r e e l #â# l h 1 S ü ö t S t f igi re S e #æ sm 4# und s r Hiroshimastr e s s tr m t dt-Str 666666r 6 ey a d-H n V- La n nd s er w r t f e t u h Stauffenbergstr r ow r R S ütz kan ei L al berger Ufer ch r öne p e Sch ie n r ts e Lützowstr t c Linkstr h h S u t fe ö er r K n i KurfürstenstrSchillstr h 666t 0 500 m en e# 0 0.25 miles G 6 For more detail of this area, see map p316 A 112 Lonely Planet’s Top Tip Explore: Potsdamer Platz & Tiergarten From July to September, the Despite the name, Potsdamer Platz is not just a square but lovely thatch-roofed Tee- Berlin’s newest quarter, born in the ’90s from terrain once haus im englischen Garten bifurcated by the Berlin Wall. -
Peter Carolin, Born 1936
PETER CAROLIN, BORN 1936 The fifth generation of a Scots South American family, Peter Carolin’s naval National Service included the Suez debacle of 1956. As an architect, he worked for John Voelcker of Team 10 and with Colin St John Wilson on the British Library. He edited both the Architect’s Journal, Magazine of the Year, 1985, and arq, which was awarded the learned journal equivalent, 2002. He was Professor and Head of the Department of Architecture at Cambridge, 1989- 2000, and chaired the Cambridge Futures project. Peter Carolin Architect, editor, academic Born 1936 Autobiographical life story Available online at www.livesretold.co.uk Contents 1. Introduction 2. The Irish and the Scots 3. A Rio Childhood 4. Prep School in Surrey 5. Radley and Holidays 6. The Navy and Suez 1956 7. Corpus and Cambridge 8. John Voelcker 9. The Bartlett 10. Sandy Wilson's Cambridge Practice 11. London and the British Library 12. Cambridge Design 13. The AJ 14. Cambridge yet again 15. Retirement 16. Sailing 17. Birgit and our children 18. Looking back 1. Introduction My father, a pipe smoker, was an unliterary man. And yet he loved books. He had an extraordinarily fine collection of antiquarian editions on Brazil. But I never saw him reading any of them and the only writing of his own that survives are his meticulous account books and a dry-as-dust book on how to set up a company in Brazil. We never tried to persuade him to write a memoir of his life – I think we knew that he wouldn’t have done so, for his Irishness was of a rather puritan kind and, despite an interesting life, he was not a man to talk about it or to see it in a wider perspective. -
Eberhard Syring: Hans Scharoun - Architekt Der Moderne Mit Bremer Wurzeln
Eberhard Syring: Hans Scharoun - Architekt der Moderne mit Bremer Wurzeln Hans Scharoun um 1930 und um 1960 A. Einleitung Eberhard Syring: Hans Scharoun - Architekt der Moderne mit Bremer Wurzeln Was ist moderne Architektur? A. Einleitung Eberhard Syring: Hans Scharoun - Architekt der Moderne mit Bremer Wurzeln Walter Gropius, Bauhausneubau in Dessau 1925-26 … muss man es umschreiten. A. Einleitung Eberhard Syring: Hans Scharoun - Architekt der Moderne mit Bremer Wurzeln Henry van de Velde, Kunstakademie Weimar, 1904-11 Walter Gropius, Bauhausneubau in Dessau 1925-26 Das Bauhaus begann vor hundert Jahren in einem Jugendstilbau A. Einleitung Eberhard Syring: Hans Scharoun - Architekt der Moderne mit Bremer Wurzeln Historismus Jugendstil Reformarchitektur/ Heimatschutzstil Expressionismus Neues Bauen Die Architektur durchlief zu Beginn des 20. Jhds einen Umbruch A. Einleitung Eberhard Syring: Hans Scharoun - Architekt der Moderne mit Bremer Wurzeln Historismus Jugendstil Historismus: Gerichtsgebäude Bremen, 1895 Jugendstil: Kunstakademie Weimar, 1904-11 Die Architektur durchlief zu Beginn des 20. Jhds einen Umbruch A. Einleitung Eberhard Syring: Hans Scharoun - Architekt der Modernen mit Bremer Wurzeln Historismus Reformarchitektur/ Heimatschutzstil Historismus: Gerichtsgebäude Bremen, 1895 Reformarchitektur: Neues Rathaus Bremen, 1913 Die Architektur durchlief zu Beginn des 20. Jhds einen Umbruch A. Einleitung Eberhard Syring: Hans Scharoun - Architekt der Modernen mit Bremer Wurzeln Historismus Expressionismus Historismus: Gerichtsgebäude