back up test

Usually, you'd think of granite as a high quality material for the outside of a building, and consider paint to be lower down the scale. But in the current makeover of a tired office building next to Farringdon Station, deeply unfashionable 1980s granite cladding is being painted black - what was conceived of then as a wannabe city office (but in slightly less smart Clerkenwell) reimagined now as a wannabe Shoreditch co-working hub (but in slightly less grungy Clerkenwell). Derwent London's  sales website  for the project seems to suggest some different, more complex, and dare I say more po-mo, versions of the elevational makeover; but with the scaffold now down, I'm hoping it will remain in the simpler version seen above. There's nothing inherently cheap looking about paint - context is everything.  Nash and Cubitt put up acres of painted stucco buildings in London where they would have used stone if they could have afforded it, as the architects of Georgian Bath and E...

Older readers may remember the Royal Fine Art Commission or RFAC, the architecture quango which was abolished and replaced by CABE in 1999.  Could it now be on the way back? The patrician ethos of the Commission, under its Chairman Lord St John of Fawsley, didn't find favour with the Cool Britannia mindset of Tony Blair's New Labour administration elected in 1997. But what goes around comes around, and so when the coalition government arrived in 2010, CABE, probably now in turn seen as a Labour oriented outfit, lost its government funding and was nearly killed off in the over-hasty 'bonfire of the quangos'. A body called the Royal Fine Art Commission Trust has however carried on quietly since 1999.  For a few years it ran an annual architecture award, as it had when the RFAC was extant - then after the death of Lord St John in 2012, things went quiet - but it has recently been upping its profile, perhaps considering that the circumstances are right for a re-founding of ...

London's new Design Museum, newly open to the public, is a bit of a curate's egg, to say the least. The Grade II* listed former Commonwealth Institute building, converted by John Pawson to house the new museum, now sits behind two new blocks of flats designed by OMA, which have helped fund the project. The good bits first.  As so often, one shouldn't overlook, before moving on to the detail, what an excellent thing it is that the project has happened at all; that the Commonwealth Institute building has been rescued from redundancy (and possible demolition - remember Culture Secretary Tessa Jowell's dodgy scheme ten years ago to get a special law passed to allow this?); that the project was put in the hands of two first rate architects, OMA and John Pawson (not necessarily the right architects for the task at hand, but never mind), and has been executed to a high standard; and that the importance of design to a country trying to reinvigorate manufacturing industry gets s...

The scheme for the 'Olympicopolis' project in the Olympic Park, by Allies and Morrison and others, was - along with the continuing saga of the Garden Bridge - a top architectural story of the summer silly season, when the scheme for a new cultural quarter was publicly criticised by Peter Cook and others, basically on the grounds that it is boring. Rowan Moore's piece in the Observer, well argued as ever, described the spat as 'biscuit vs blancmange' - Cook having characterized the peddlers of the bricky New London Vernacular architecture as the 'biscuit boys'. This was all argued out in similar terms over a decade ago, in the New Labour heyday of the lottery funded wow-factor 'icon' - the apotheosis of the debate in those days being Graham Morrison's memorable  talk  at the Royal Academy in 2004, with icon projects such as Will Alsop's Liverpool 'Fourth Grace' in the firing line. Once upon a time it was obvious which were the importan...

One of the suggestions made by the Skyline Campaign is that there should be better, and publicly accessible, digitised modelling of project proposals.  I don't agree with a lot of they say about tall buildings, but I do agree with this.   Citizens should be able to find out for themselves what is being put forward, and the technology exists for them to be able to see images of what it would look like from a viewpoint they are interested in.  If you can make a film like Gravity, then you can certainly make a system like that without inventing any new technology. It wouldn't be cheap, though; it raises tricky questions of open access to data; and it also makes you think about just how accessible such a system is likely to be for everyone, as opposed to  IT literate bien-pensants.  Here is a piece on this subject that I wrote for the RIBA Smart Cities programme: If you were excited by the digital world created in Alfonso Cuaron’s Gravity, then looking up a planning...

My commentary on Eric Parry's Undershaft project for a new City of London office tower, from last week's AJ :  Eric Parry’s design is a good and pleasingly modest proposal for the new peak of the City’s ‘Eastern cluster’ of towers.  Recent skyscraper building in central London has seen a rather attention-seeking crowd of starchitect designs accumulating within the jumbled medieval street layout – curvy in the case of Foster and Viñoly, angular for Rogers and Piano.  In its contingent messiness, it is a very London cluster, in spite of this international provenance, which contrasts with the calm, orthogonal approach to tall buildings raised on a north American-style masterplan grid at Canary Wharf.    Parry has matured into an acknowledged master of the high end, contextual city building.   Here, this approach is taken to new heights, but in its response to its surroundings, it exhibits the same thoughtfulness at seventy storeys as seen at a tenth that heigh...

Here is a piece, directed at construction clients, that I did for this new RIBA publication, available now here . The planning system – faites vos jeux Everyone knows that we have a planning system – but it is by no means self-evident what it is really for .  In its origins in the first half of the twentieth century, at a time of unregulated growth, it was devised principally to address serious concerns to do with public health and nuisance – for example, so that people did not have to live next door to a glue factory. But in less than 100 years, mission creep has set in, and we now have a very complex system that can control – and in fact micro-manage – almost every aspect of building activity.  Control of land use is still at the heart of the system, even though your neighbour who wants to set up a business is more likely to be using a laptop than boiling up glue – but the system now concerns itself with every conceivable detail of amenity and environmental protection. ...