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Hopkins 3 2 Hopkins 3 Hopkins 3 2 Hopkins 3 Rob Gregory Paul Finch Prestel Munich · London · New York Front cover: Shin-Marunouchi Building Editorial direction: Ali Gitlow Hopkins Architects would like to ©Ken’ichi Suzuki cover, p70, p74, p77, © Ken’ichi Suzuki Editorial assistance: Eve Dawoud acknowledge particularly the p78, p79 Frontispiece: Kroon Hall, Yale University Copyedited by: Matthew Taylor contribution of Senior Partner, Finance, ©Mike Taylor p214 © Morley von Sternberg Production: Friederike Schirge Henry Buxton to all the projects. ©Paul Tyagi p7(tl,tr), p8(tl), p19(b), 21(b), Design and layout: p33, p35, p38, p39, p54, p55, p57(b), © For the text by Rob Gregory Esterson Associates Thanks are extended to Robert Gregory p58/59, p60(t), p61(b), p83(t), p85, p87, and Paul Finch and Paul Finch for their texts, and to p93, p94(t,b), p95, p106, p107, p110(t), Origination: Simon Esterson and Mark Leeds for the p111, p155, p157(t), p158(t), p159(t), p162, © Prestel Verlag, Reproline Mediateam, Munich design and John Hewitt for his drawings p164/165, p168, p169, p171(r), p174, p175, Munich · London · New York 2012 Printing and binding: contribution to this book. p176, p177(t), p178, p180/181 Appl, Wemding ©Morley Von Sternberg p2, p9(tr), p97, The rights of Rob Gregory and Paul Printed in Germany Also to Alet Mans and Nathaniel Moore p99, p101, p102(b), p103(b), p104, p215, Finch to be identifi ed as authors of this for book co-ordination. p218/219, p220(b), p270(t), p271(t), work has been asserted in accordance p208, p209, p211(t), p212(b), p213(t), with the Copyright, Designs and Patents Photography credits p295, p299(t,b), p300/301 Act 1988. 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No part p246/247, p248, p249, p250(b), p252, ©Zuma Restaurant Dubai p282 of this book may be reproduced or p253 transmitted in any form or by any ©Richard Brine p62, p63, p66/67, means, electronic or mechanical, Verlagsgruppe Random House p68(c), p69, p88/89, p147(t), p255, including photocopying, recording, or by FSC-DEU-0100 p257(b), p258(tl) any information storage and retrieval The FSC-certifi ed paper Tatami has ©Nicola Browne p46(b) system without express written been supplied by Fedrigoni, Germany ©Mike Caldwell p297(t), p298(b) permission from the publisher. ©Corin Mellor p65(bl,br) ISBN 978-3-7913-4432-4 ©Charles Cottrel Dormer p32 Prestel, a member of Verlagsgruppe ©Nikos Daniilidis p139, p141, p143 Random House GmbH ©Institution of Gas Engineers & Managers, Courtesy David Mellor Prestel Verlag Design Museum p65(tl) Neumarkter Str. 28 ©Richard Davies p28(tr,br), p36/37, 81673 Munich p52(t), p81, p84, p91, p112, p113, p114(b), Tel. +49 (0)89 4136-0 p127(t) Fax +49 (0)89 4136-2335 ©Peter Durant p22(b), p23, p24(b), www.prestel.de p28(tl), p30(c) ©Ernest Fasanya p303, p304(b), Prestel Publishing Ltd. p305(t), p331(c) 4 Bloomsbury Place ©Simon Fraser p136, p137, p142(t) London WC1A 2QA ©Frayland LLC p274, p278 Tel. +44 (0)20 7323-5004 ©Dennis Gilbert/VIEW p26, p27, p31 Fax +44 (0)20 7636-8004 ©By Permission of the Trustees of the www.prestel.com Goodwood Collection p294 ©Nick Guttridge p144, p147(b), p148, Prestel Publishing p150, p152(t), p153 900 Broadway, Suite 603 ©Martine Hamilton Knight p48, p49, New York, NY 10003 p50, p51, p226, p227, p230/231, p233, Tel. +1 (212) 995-2720 p234, p235(t,b), p236/237 Fax +1 (212) 995-2733 ©Hufton+Crow p188, p189 www.prestel.com ©Keith Hunter p130, p131, p134/135 ©Timothy Hursley p200, p201, p203(t), Library of Congress Control Number: p205, p206/207 2011944311 ©Warren Jagger p8(tr), p260, p261, p263, p264/265, p267, p268, p269 British Library Cataloguing-in- ©Tom Jenkins p307, p310/311 Publication Data ©Nick Kane / ARCAID p145 A catalogue record for this book is ©Kawasumi Architect p71, p73(l), p75 available from the British Library. ©Simon Kennedy p96, p100, p103(t), p118, p119, p120(c), p121(t), p259 The Deutsche Bibliothek holds a record ©Bill Lyons p9(tl), p275, p277(b), p279, of this publication in the Deutsche p283 Nationalbibliografi e; detailed ©Peter Mackinven/VIEW p12(b), p13, bibliographical data can be found under: p16/17, p18(b), p20, p124, p125, p129(t,b) http://dnb.d-nb.de ©Simon Miles p40, p41, p44/45, p47(t,b) Prestel books are available worldwide. ©Tom Miller p25(c), p323, p327(b) Please contact your nearest bookseller ©Nathaniel Moore p306, p307, p315 or one of the above addresses for ©Image Courtesy Norwich Cathedral information concerning your local p82(b) distributor. ©Ntararaj & Venkat Architects p331(t) ©James O. Davies p80 ©Peter Otis p220(t) ©Anthony Palmer p316/317 ©Sean Pollock p109(t) ©Mandy Reynolds p286, p287, p290(t,b), p292/293 ©Rice University, The Campus Guide, Stephen Fox, Princeton Architectural Press, 2001 p238, p241(t) ©Phil Sayer p65(c) ©David Selby p43 ©Tim Soar p15(b) 4 Contents An Introduction to Hopkins 3, by Rob Gregory 6 Place-Making and Public Engagement 10 Institutions and Headquarters 122 Healthcare 166 Schools, Colleges, Universities and Research 190 Work in the Middle East 272 Buildings for Sport 284 Lines of Continuity, by Paul Finch 320 Current Projects 324 Chronology 342 Credits 348 Awards 354 Bibliography 356 Index 358 5 An introduction to Hopkins 3 Rob Gregory Regardless of location, scale, budget or type, there is something in the As recorded in the first two volumes of official Hopkins DNA of a Hopkins building – something at its heart, in its bones and in monographs, their body of work has given generations of architects its figure – that brings distinction and character to the work. Across an a radically different sourcebook from those offered by other increasingly extensive range of buildings there are traits and contemporaries, beginning in Volume 1 with the practice’s seminal characteristics in how spaces are planned, in how sections inform projects, and continuing in Volume 2 with projects of truly global elevations, in how materials combine, in how corners turn and in how significance, such as Glyndebourne Opera House, Portcullis House structures define places, that share a distinctive family resemblance. and Westminster underground station. Supported by observation Since it began in 1976, Hopkins Architects has been led by founding and critical analysis from Colin Davies, Patrick Hodgkinson, Kenneth partner Sir Michael Hopkins, who traces back the genetic thread of the Frampton and Charles Jencks, these previous volumes traced the practice’s architecture to a number of key defining experiences. Initially architect’s development from schoolboy enthusiast to what Jencks working on two self-initiated domestic projects with wife, Patty, the described as ‘the architect to surpass’, illustrating along the way the rescue and restoration of their sixteenth-century timber-framed house broad range of influences, from Viollet-le-Duc to Buckminster Fuller, at Craftfield in Suffolk in the early 1960s introduced them to the realities that bridge the gap between the practice’s interest in the medieval and of construction and instilled within them the desire to produce buildings the Miesian. As these commentaries showed, it has been impossible that look the way they do because of the way they are built. This was to attribute a style or ‘-ism’ to the practice’s buildings, so it is only by followed by the radical innovation of a twentieth-century small-section taking a long view that we are able to frame Hopkins’ work, as an steel frame at the now seminal Hopkins House in Hampstead, which in entirely new pedigree in British modernity. It takes its place in a lineage turn led to Greene King, Patera, Broadley Terrace and Schlumberger. of design thinking that begins with the great British engineer Brunel After this came projects like Lord’s, where they went further still, not only and runs through the nineteenth- and twentieth-century work of learning about the technicalities of Victorian brickwork but also, more Joseph Paxton, Edwin Lutyens and Owen Williams, with Romanesque significantly, realising that character and ambience were just as and Gothic origins brought up to date in the spirit of the Functionalist significant as structure and detail, with the Mound Stand chiming with tradition identified by Eric de Maré’s photographs, published in the Lord’s main pavilion, expressing the sense of an English summer’s day Architectural Review. in brick, steel, glass and tensile fabric. This new monograph extends the commentary, reflecting on the Through this legacy Hopkins had derived an entirely new language third decade of the practice’s evolution and its current work, where we for late twentieth-century British modernism, which attracted a see the Hopkins practice transformed into a truly international, committed team of like-minded architects that included the five senior twenty-first-century business. It has stepped up to the challenges of partners he works with today, all of whom cite a shared interest in more competitive markets at home and abroad, more than doubling its materials (new and old), design (innovative and traditional) and place- portfolio of completed buildings and extending its reach to new regions making (urban and rural) as their reason for joining the firm.
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