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The Making of the Sainsbury Centre the Making of the Sainsbury Centre
The Making of the Sainsbury Centre The Making of the Sainsbury Centre Edited by Jane Pavitt and Abraham Thomas 2 This publication accompanies the exhibition: Unless otherwise stated, all dates of built projects SUPERSTRUCTURES: The New Architecture refer to their date of completion. 1960–1990 Sainsbury Centre for Visual Arts Building credits run in the order of architect followed 24 March–2 September 2018 by structural engineer. First published in Great Britain by Sainsbury Centre for Visual Arts Norwich Research Park University of East Anglia Norwich, NR4 7TJ scva.ac.uk © Sainsbury Centre for Visual Arts, University of East Anglia, 2018 The moral rights of the authors have been asserted. All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher. British Library Cataloguing-in-Publication Data. A catalogue record is available from the British Library. ISBN 978 0946 009732 Exhibition Curators: Jane Pavitt and Abraham Thomas Book Design: Johnson Design Book Project Editor: Rachel Giles Project Curator: Monserrat Pis Marcos Printed and bound in the UK by Pureprint Group First edition 10 9 8 7 6 5 4 3 2 1 Superstructure The Making of the Sainsbury Centre for Visual Arts Contents Foreword David Sainsbury 9 Superstructures: The New Architecture 1960–1990 12 Jane Pavitt and Abraham Thomas Introduction 13 The making of the Sainsbury Centre 16 The idea of High Tech 20 Three early projects 21 The engineering tradition 24 Technology transfer and the ‘Kit of Parts’ 32 Utopias and megastructures 39 The corporate ideal 46 Conclusion 50 Side-slipping the Seventies Jonathan Glancey 57 Under Construction: Building the Sainsbury Centre 72 Bibliography 110 Acknowledgements 111 Photographic credits 112 6 Fo reword David Sainsbury Opposite. -
Les Cahiers De La Recherche Architecturale Urbaine Et Paysagère, 9|10 | 2020 from Domestic Setting to Display Space: the Evolution of the Foster Associate
Les Cahiers de la recherche architecturale urbaine et paysagère 9|10 | 2020 L’Agence d’architecture (XVIIIe-XXIe siècle) From domestic setting to display space: the evolution of the Foster Associates’ work spaces and methodology Du cadre domestique à l'espace d'exposition: l'évolution des espaces de travail et de la méthodologie de Foster Associates Gabriel Hernández Electronic version URL: http://journals.openedition.org/craup/6137 DOI: 10.4000/craup.6137 ISSN: 2606-7498 Publisher Ministère de la Culture Electronic reference Gabriel Hernández, “From domestic setting to display space: the evolution of the Foster Associates’ work spaces and methodology”, Les Cahiers de la recherche architecturale urbaine et paysagère [Online], 9|10 | 2020, Online since 28 December 2020, connection on 25 January 2021. URL: http:// journals.openedition.org/craup/6137 ; DOI: https://doi.org/10.4000/craup.6137 This text was automatically generated on 25 January 2021. Les Cahiers de la recherche architecturale, urbaine et paysagère sont mis à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale - Pas de Modification 3.0 France. From domestic setting to display space: the evolution of the Foster Associate... 1 From domestic setting to display space: the evolution of the Foster Associates’ work spaces and methodology Du cadre domestique à l'espace d'exposition: l'évolution des espaces de travail et de la méthodologie de Foster Associates Gabriel Hernández Introduction 1 After the dissolution of Team 4 Architects in 1967,1 Norman and Wendy Foster founded Foster Associates later that same year. Unlike their former colleagues, who opted to operate under the name of Su and Richard Rogers Partnership, the Foster couple established themselves as associates. -
Westminsterresearch Technological Innovation in Architecture: the Role
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Technological Innovation in Architecture: The Role of the Aberrant Practitioner Mclean, W. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr William Mclean, 2018. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] Technological Innovation in Architecture: The Role of the Aberrant Practitioner Will McLean A thesis submitted in partial fulfillment of the requirements of the University of Westminster for the degree of Doctor of Philosophy May 2018 2 Abstract Technological innovation in architecture can often be attributed to the work or works of individual designers and their unique (tacit) working method. Through an analysis of my published work (articles, essays, edited, co- authored and authored books), I will present how the aberrant creative process which the economist Joseph Schumpeter described as the ‘innovating entrepreneur’ can enlarge the palette of technological possibilities for the architect and define a unique role within the construction industry. The published works survey and explore atypical and innovative technologies and working practices in relation to architecture. The ‘McLean’s Nuggets’ column presented a series of short articles, factual and outliers (provocations in some instances) and established an expansive view of the variety and potential of technology and its application in architecture as a socially beneficial design tool. -
“Once Through the Gate, Face Right. the Deer House, the Camel House
1 “Once through the gate, face right. The Deer House, The Camel House, The Giraffe House, The Cattle and Zebra House and The Antelope House will all be found on your left across a canal and a wild ravine. Water Bus rides on the artificial river start at ten. As you face your right you see a path before you. Take it. You pass, on your right, The Owls Aviary and The Pheasantry. All of the pheasants have gone away and you can count up fourteen empty cages, waiting. You can listen to the wind across The Reptile House, The Reptiliary, The Gentlemen’s Toilets, The Charles Clore Pavilion for Mammals and Moonlight World. Ahead of you a great fence of wide-mesh wire catches the wind; it is a huge crazy sail that is warped to the ground like a tent and has a door of brushed aluminum. It peaks in twenty places, it bulges at its sides; thick steel pipes at strange angles just like spars and when you walk inside, saying, “You go first. You come first, you always came first for me. You know that,” the noise that she makes for you by listening in silence, saying nothing, even when you try to smirk your sudden words away, is lost. For you are in The Snowdon Aviary, opened in 1965, the first out-of-doors walk- through aviary in The London Zoo, which houses many birds from a variety of natural habitats. The Aviary was designed by Lord Snowdon in association with Mr. Cedric Price and Mr. -
The Architecture and Engineering of the Snowdon Aviary at London Zoo. Cedric Price and New Technologies
University of Westminster, Department of Architecture BA1 Cultural Context 1A: Modern Architecture FAITH The Architecture and Engineering of The Snowdon Aviary at London Zoo. Cedric Price and New Technologies 1 “To paint the portrait of a bird, Paint first a cage with an open door”1… Somewhere, between poetry and Kenneth Snelson’s sculptures I tried to find the place of the Snowdon Aviary, in the cultural context of the early sixties, looking for architect’s concerns and expectations. This period wasn’t just about Pop Art. “It was a decade of revolutionary aesthetics where politics, sexuality and performance were all burst open and re-examined”2. Discovery of new materials, new technologies and scientific achievements caused substantive changes in approach to contemporary issues, including architecture. This was a period in which architecture was expected to be seen as a social art, when investigation, research, theory and explanation were paradigmatic concepts among both students and practitioners. On the other hand, whereas the aeronautics, electronics and heavy engineering industries have pioneered both new materials and techniques, architects have been slow to learn from others and have been almost wholly inactive in initiating new materials, techniques and methods. The bulk of the profession has remained with the comparatively simple games that can be played with the old, safe, simple pieces – steel, glass and concrete. The following paragraphs attempt to answer few questions: is Snowdon Aviary a work of art, an everlasting architectural structure or a technological symbol of the sixties? Was Cedric Price a juggler theoretician of consumerism, a futurist architect or a visionary scientist, with faith in new technologies? In 1960, the Royal Zoological Society empowered Lord Snowdon to design a new aviary able to enclose the greatest possible volume, be easily recognized and requiring minimum maintenance. -
ARCHIGRAM MIT Sadler Fm* 12/20/05 10:03 AM Page Ii
MIT Sadler_fm* 12/20/05 10:03 AM Page i ARCHIGRAM MIT Sadler_fm* 12/20/05 10:03 AM Page ii Archigram Architects (Peter Cook, Dennis Crompton, Ron Herron, partners), postcard, c. 1971, advertising Archigram Architects’ relocated office and Adhocs (Addhox) gallery in Covent Garden, London. Archigram Architects first opened in 1970 near the Architectural Association, confirming the ambition of some contributors to Archigram magazine to proceed from provocation to practice. Archigram Architects closed circa 1975. MIT Sadler_fm* 12/20/05 10:03 AM Page iii ARCHIGRAM ARCHITECTURE WITHOUT ARCHITECTURE SIMON SADLER THE MIT PRESS CAMBRIDGE, MASSACHUSETTS LONDON, ENGLAND MIT Sadler_fm* 12/20/05 10:03 AM Page iv ©2005 MASSACHUSETTS INSTITUTE OF TECHNOLOGY All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. mit Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email [email protected] or write to Special Sales Department, The mit Press, 55 Hayward Street, Cambridge, ma 02142. This book was set in Chapparal and Magda Clean by Graphic Composition, Inc., and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Sadler, Simon. Archigram : architecture without architecture / Simon Sadler. p. cm. Includes bibliographical references and index. Contents: A new generation: Archigram’s formation and its context—The living city: Pop urbanism circa 1963— Beyond architecture: Indeterminacy, systems, and the dissolution of buildings—The zoom wave: Archigram’s teaching and reception—Conclusions. -
An Iron Lineage
Lecture: Hurst Sutherland History Lecture given before a meeting of the Institution of Structural Engineers on 19 March 1998, withDr S. Thorbum, OBE, FEng (then President),in the chair: An iron lineage B. L. Hurst, BSc, ACGI, CEng, FIStructE, FICE Background excessively boring. I promise I will catalogue them one day, but not today. I will, by your leave, start with some recent history, which I think is worth So my ‘iron lineage’ will start with the first fireproof flooring systems putting on record - the formation of the Institution’s History Study Group, employing iron, which lead directly to thefirst rolled iron joists, I shall then which celebrates its silver jubilee this month. say a few words about the development and use of rolled iron joists andthen In October 1972, at the suggestion of Cyril Morgan -then Secretary of the first rolled steel joists, which would have still been novel when young the Institution and prompted by the President, George Geddes - James Bertram Hurst, my father, started his pupillage with Joseph Westwood at his Sutherland set up a study group called ‘Archaeology of Structures”, but, ironworks on the Isle of Dogs. after a few months, it became apparent that history was more important than I will conclude with my father’s career - how he progressed from join- simple recording, as implied by archaeology, and the group was reformed ing Westwood at the ageof 15 anddeveloped his education and contacts to in March 1973, just 25 years ago this month, under the title ‘History of set up, 18 years later, as a consulting engineer - and then say some of the Structural Engineering’ with the aim of ‘promoting the study of the develop- things I have been able to learn about his clients, his staff, and his way of ment of structural theory, materials and construction, not just for its own working in his first years in practice. -
Fuller and Frei Otto’S Institute for Lightweight Structures (IL)
On Growth and Form On Growth and Form On Growth and Form This collection of essays by architects and artists revisits D’Arcy Thompson’s influential bookOn Growth and Form Organic Architecture and Beyond (1917) to explore the link between morphology and form- making in historical and contemporary design. This book sheds new light on architects’ ongoing fascination with Edited by Philip Beesley & Sarah Bonnemaison organicism, and the relation between nature and artifice that makes our world. Beesley • Bonnemaison on growth and form Organic architecture and beyond Tuns Press and Riverside Architectural Press 2 on growth and form Tuns Press Faculty of Architecture and Planning Dalhousie University P.O. Box 1000, Halifax, NS Canada B3J 2X4 web: tunspress.dal.ca © 2008 by Tuns Press and Riverside Architectural Press All Rights Reserved. Published March 2008 Printed in Canada Library and Archives Canada Cataloguing in Publication On growth and form : organic architecture and beyond / edited by Sarah Bonnemaison and Philip Beesley. Includes bibliographical references. ISBN 978-0-929112-54-1 1. Organic architecture. 2. Nature (Aesthetics) 3. Thompson, D’Arcy Wentworth, 1860-1948. On growth and form. I. Bonnemaison, Sarah, 1958- II. Beesley, Philip, 1956- NA682.O73O6 2008 720’.47 C2008-900017-X contents 7 Why Revisit D’Arcy Wentworth Thompson’sOn Growth and Form? Sarah Bonnemaison and Philip Beesley history and criticism 16 Geometries of Creation: Architecture and the Revision of Nature Ryszard Sliwka 30 Old and New Organicism in Architecture: The Metamorphoses of an Aesthetic Idea Dörte Kuhlmann 44 Functional versus Purposive in the Organic Forms of Louis Sullivan and Frank Lloyd Wright Kevin Nute 54 The Forces of Matter Hadas A.