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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. -
Hans-Peter Feldmann Named Winner
Guggenheim and AMO / Rem Koolhaas Announce Research Project Culminating in February 2020 Exhibition Countryside: Future of the World to Examine Radical Changes Transforming the Nonurban Landscape (NEW YORK, NY—November 29, 2017)—The Solomon R. Guggenheim Museum, architect and urbanist Rem Koolhaas, and AMO, the think tank of the Office for Metropolitan Architecture (OMA), will collaborate on a project exploring radical changes in the countryside, the vast nonurban areas of Earth. The project extends work underway by AMO / Koolhaas and students at the Harvard Graduate School of Design and will culminate in a rotunda exhibition at the Guggenheim Museum in February 2020. Organized by Guggenheim Curator of Architecture and Digital Initiatives Troy Conrad Therrien, Founding Partner of OMA Rem Koolhaas, and AMO Director Samir Bantal, Countryside: Future of the World (working title) will present speculations about tomorrow through insights into the countryside of today. The exhibition will explore artificial intelligence and automation, the effects of genetic experimentation, political radicalization, mass and micro migration, large-scale territorial management, human-animal ecosystems, subsidies and tax incentives, the impact of the digital on the physical world, and other developments that are altering landscapes across the globe. “The Guggenheim has an appetite for experimentation and a founding belief in the transformative potential of art and architecture,” said Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation. -
Volker 2010 Phd Deciding ... Uality.Pdf
Leentje Volker In the past few years the image of tender procedures in Deciding which Dutch public clients selected an architect has been dominated by distressing newspaper headlines. Architects fear that the current tender culture will harm the quality of about Design Quality our built environment due to a potential lack of diversity, Value judgements and decision making in the creativity and innovation in architectural design. Due to potential risks clients often allow legal requirements to selection of architects by public clients under overrule their actual wishes. This PhD research addresses the origin of the problems as currently experienced by public European tendering regulations commissioning clients in architect selection and proposes Deciding about Design Quality pragmatic implications for future practice. It is therefore of interest for commissioning clients, management consultants, policy makers and legal advisors but also for designers and researchers in the field of architecture and decision making. Based on four empirical cases the author shows that during architect selection the rational legal requirements clash with the psychological process of decision making. Decision makers only start to make sense of the proposed designs once they are confronted with the alternatives. It is therefore about Design Quality almost impossible for clients to design a selection procedure and announce the criteria and weighting factors up front, as required by procurement law. The scientific underpinning of the findings is found in four theoretical perspectives on value judgements in design and the latest decision theories in which sensemaking, emotion, intuition, and expertise play prominent roles. The thesis proposes fifteen factors for a successful design of a tender procedure to select an architect. -
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. -
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. -
Rem Koolhaas: an Architecture of Innovation Daniel Fox
Lehigh University Lehigh Preserve Volume 16 - 2008 Lehigh Review 2008 Rem Koolhaas: An Architecture of Innovation Daniel Fox Follow this and additional works at: http://preserve.lehigh.edu/cas-lehighreview-vol-16 Recommended Citation Fox, Daniel, "Rem Koolhaas: An Architecture of Innovation" (2008). Volume 16 - 2008. Paper 8. http://preserve.lehigh.edu/cas-lehighreview-vol-16/8 This Article is brought to you for free and open access by the Lehigh Review at Lehigh Preserve. It has been accepted for inclusion in Volume 16 - 2008 by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. Rem Koolhaas: An Architecture of Innovation by Daniel Fox 22 he three Master Builders (as author Peter Blake refers to them) – Le Corbusier, Mies van der Rohe, and Frank Lloyd Wright – each Drown Hall (1908) had a considerable impact on the architec- In 1918, a severe outbreak ture of the twentieth century. These men of Spanish Influenza caused T Drown Hall to be taken over demonstrated innovation, adherence distinct effect on the human condi- by the army (they had been to principle, and a great respect for tion. It is Koolhaas’ focus on layering using Lehigh’s labs for architecture in their own distinc- programmatic elements that leads research during WWI) and tive ways. Although many other an environment of interaction (with turned into a hospital for Le- architects did indeed make a splash other individuals, the architecture, high students after St. Luke’s during the past one hundred years, and the exterior environment) which became overcrowded. Four the Master Builders not only had a transcends the eclectic creations students died while battling great impact on the architecture of of a man who seems to have been the century but also on the archi- influenced by each of the Master the flu in Drown. -
Gideon Maasland
Gideon Maasland Director, and Architect, Gideon Maasland (NL), joined MVRDV in 2016. With extensive experience acquired at several high profile Dutch offices, Maasland leads MVRDV’s Studio 8, which is responsible for large-scale, complex buildings in the Netherlands and abroad. He leads the development, and construction of Valley, a 75,000 m2 mixed-use building in Amsterdam, as well as the construction of a 61.800 m2 residential tower project in the Hague, and the transformation of Jaarbeurs in Utrecht, a trade fair of 170.000m2. Besides this, Maasland is working on several projects in Poland, and the UK. Other exceptional projects include the Glass Farm in Schijndel, The Crystal Houses in Amsterdam, and the Balancing Barn in Suffolk, England. “I love to work on buildings that make a difference to the people using them or living close to them. At first glance, you might think these projects will never happen, because they are too difficult, too expensive, or not technically possible, but with the help of a large team of experts, and dedication to relationship management, anything is possible. There are no good projects without good clients.” - Maasland Profession Education 2001-2004 Technical University, Delft, Netherlands Director Architecture and Urbanism Architect 1998-2001 Technical School, Amsterdam, Netherlands Years of experience Bachelor in architecture 16 Professional 2016 / - MVRDV, Rotterdam, NL. Experience Director Nationality experience Dutch 2011/ 2016 Designed by Erick van Egeraat, Rotterdam, NL Qualifications Senior Project -
Fall 2016 Newsletter
Fall 2016 CHI College Dean’s welcome CHI Theatre & Music 2016/17 theatre season LA Art & Art History Marientina Gotsis and the art of solving problems CHI, DXB, Architecture JED Adrian SmithCHI comes to Projecting the Forum CHI College Projecting the future: a UIC legacy the future: a DET Design Industrial Design at IDSA conference UIC legacy LIS, VCE Architecture City views: School of Architecture represented in Lisbon and Venice CHI College In memoriam CHI Architecture Legos Brick by Brick at the Museum of Science and Industry DET Industrial CHI Design High in the Modern Wing: Amir Berbic’s installation at the Art Institute of Chicago Design at IDSA CHI College Alumni step out at Steppenwolf NYC Design conference The future, now ACC Art & Art History Congratulations, Daniel Dunson CHI College Sides to our story: east side/ west side collaborationsLIS School of University of Illinois at Chicago College of Architecture, Design, and the Arts Architecture to Lisbon and Venice CHI East side/ west side collaborations Dean’s UIC College of Architecture, Design, and the Arts 2 Fall 2016 has arrived at the University of an arts center for UIC and the city of Geissler, Beate, Oliver Sann, and Brian Illinois at Chicago College of Architecture, Chicago. You can also read descriptions and Recent faculty publications Holmes. Volatile Smile. Nuremberg: Moderne welcomeDesign, and the Arts (CADA), and the see images of luminous design concepts Kunst Nurnberg, 2014. learning environment here is as vibrant as for a new visual and performing arts facility The faculty of UIC's College of Harmansah, Omur. -
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. -
Architecture Program Report for 2012 NAAB Visit for Continuing Accreditation
Harvard Graduate School of Design Department of Architecture Architecture Program Report for 2012 NAAB Visit for Continuing Accreditation Master of Architecture Undergraduate degree outside of Architecture + 105 graduate credit hours Related pre-professional degree + 75 graduate credit hours Year of the Previous Visit: 2006 Current Term of Accreditation: At the July 2006 meeting of the National Architectural Accrediting Board (NAAB), the board reviewed the Visiting Team Report for the Harvard University Department of Architecture. As a result, the professional architecture program: Master of Architecture was formally granted a six-year term of accreditation. The accreditation term is effective January 1, 2006. The program is scheduled for its next accreditation visit in 2012. Submitted to: The National Architectural Accrediting Board Date: 14 September 2011 Harvard Graduate School of Design Architecture Program Report September 2011 Program Administrator: Jen Swartout Phone: 617.496.1234 Email: [email protected] Chief administrator for the academic unit in which the program is located (e.g., dean or department chair): Preston Scott Cohen, Chair, Department of Architecture Phone: 617.496.5826 Email: [email protected] Chief Academic Officer of the Institution: Mohsen Mostafavi, Dean Phone: 617.495.4364 Email: [email protected] President of the Institution: Drew Faust Phone: 617.495.1502 Email: [email protected] Individual submitting the Architecture Program Report: Mark Mulligan, Director, Master in Architecture Degree Program Adjunct Associate Professor of Architecture Phone: 617.496.4412 Email: [email protected] Name of individual to whom questions should be directed: Jen Swartout, Program Coordinator Phone: 617.496.1234 Email: [email protected] 2 Harvard Graduate School of Design Architecture Program Report September 2011 Table of Contents Section Page Part One. -
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 .................................................................... -
John Hejduk's Pursuit of an Architectural Ethos
113 John Hejduk’s Pursuit of an Architectural Ethos Martin Søberg Within the past decade the visual arts have in particular indicates a certain depth within such witnessed an increase in the production of artis- projects, a desire for transgressing questions of tic research. This is a type of practice-driven formalism and mere aesthetics while coming to research that, based on creative investigation and terms with fundamental principles and purposes of the production of artistic work combined with proc- architecture. These objectives may be described esses of reflection and documentation, arguably as a pursuit of an architectural ethos that investi- results in the creation of new insights, recognitions, gates what is architecturally proper and meaningful if not to say genuine knowledge.1 Generally speak- in a contemporary context, including architecture’s ing, artistic research differs methodologically from symbolic potentials – and as such addresses traditional scientific research as it relies primarily normative questions.2 My hypothesis is that on the imagination and aesthetic impetus of the such questions concerning the media, language, artist rather than on concepts, logical thinking and programmes, semantics, and ethos of architecture transparent argumentation. In architecture this would also be relevant to a field of artistic architec- tendency has been less prominent. While much has tural research today and that knowing more about been done to conceptualize, map and theorize the previous projects that explored these questions, targets, history and assessment of artistic research obvious differences apart, could help us to conduct in visual arts, similar work is still somehow absent artistic architectural research in a more focused when it comes to architecture.