Archive for December, 2009
Steffian Bradley’s Durham care centre completes
Posted by The Sheet in Architecture News on December 22, 2009
Steffian Bradley’s £12 million primary care centre for adults and children in County Durham has been completed.
Various Architects’ eco-office inspired by Copenhagen
Posted by The Sheet in Architecture News on December 22, 2009
Oslo’s Various Architects AS and Pollen Architecture of Texas have designed Norway’s most efficient office building yet.
Brady Mallalieu Architects docklands housing scheme completes
Posted by The Sheet in Architecture News on December 22, 2009
A housing scheme designed by Brady Mallalieu Architects in the shadow of London’s Canary Wharf has been completed.
Brian Anson obituary
Posted by The Sheet in Architecture News on December 21, 2009
Architect, planner and tireless battler on behalf of the underdog
The architect and planner Brian Anson, who has died of a heart attack aged 74, was tireless in his battles for the rights of those whose problems others overlooked or thought insurmountable. He was driven by a profound understanding of, and sympathy for, the underdog.
Brian will be remembered for his role in the fight for Covent Garden in the late 1960s. He lost his job at the Greater London council as a result of siding with local residents against the council's plans to tear down the historic buildings and install a monstrous, car-dominated redevelopment after the relocation of the fruit and vegetable market to Nine Elms in south-west London. It was an epic battle between developer and citizen, a pattern then occurring across Europe, but Brian and a group of friends prevailed against the odds. Had they lost, London today would be a less humane and beautiful city.
Small in stature, but wiry, resilient and endowed with talents that grew over time, Brian was a wonderful wordsmith, a considerable artist, a beautiful draughtsman and a true raconteur and revolutionary.
He was born and brought up in Bootle, the docklands area of north Liverpool. It was a tough area in tough times, yet Brian saw how humour and solidarity kept the community together. He was educated at Bootle grammar school and went on to study architecture at Manchester University. He worked as an architect and planner in Liverpool and Dublin in the mid-60s, then arrived at the Greater London council in 1967 as a deputy principal planner for the Covent Garden design team. He later recorded his efforts to save Covent Garden in the book I'll Fight You for It, published in 1981.
I was first introduced to Brian at the Architectural Association School of Architecture (AA), where he was a teacher from 1972 to 1980. Alan Boyarsky, then principal of the AA, asked me to review the work of a couple of their fifth-year students, whose class was being taught by Brian. The students, dubbed "the cabbage patch unit", had been working on a project about planning allotments and the AA was concerned that their work could be seen as inappropriate training for a career designing buildings.
In the end, the students passed, not least thanks to Brian's commitment to their avant-garde approach. Nobody who knew Brian would have been surprised by this. He had always valued forward thinking and activism, and focused his considerable energy on creating an awareness of the difficulties faced by disadvantaged communities.
When Brian was teaching at the AA, he started an architectural unit to deal specifically with derelict areas and their socially excluded inhabitants. His unit at the AA covered a wide variety of projects, including successful campaigns to halt major redevelopment in Ealing, west London, and the village of Bridgtown in Staffordshire. The unit ran a study into the decline of the industry and villages of the Colne valley in West Yorkshire and another in the Afan valley in south Wales, looking at such issues as healthcare and community hospitals, leisure provision, employment and housing.
He became a dynamic force on the Architects Revolutionary Council (ARC), a movement dedicated to community architecture, from 1973, and the Schools of Architecture Council (SAC), a forum for open debate among architecture students, in 1979. His commitment to empowerment was also reflected in his work for Planning Aid in the early 1980s, when he toured Ireland and the UK in the "mobile planning aid unit", a converted VW caravanette, offering consultation and planning assistance.
During this period, he became closely involved in supporting the rights of those living in the Divis Street flats, a grim housing estate in Belfast where the British army had constructed an observation post on the roof and occupied the top two floors. "In all my community struggles, I have never seen anything like it," Brian wrote to me at the time. "The residents asked me to help in their crusade to demolish the place. We found ourselves taking on the British government ... and we beat them after five years."
Ten years ago, the battle to conserve the Hoxton Square area in east London finally got to Brian. He sensed a bitter avarice there – it was not difficult to understand why, when Old Street was all that separated the rundown and depressed area of Hoxton from the richest square mile on the planet.
Semi-retirement in France beckoned, but his sense of justice still drove him on. The socialist element of the French architectural establishment adopted him as one of their own, and he would occasionally give one of his remarkable lectures at their behest. I remember one in particular at the Venice Biennale and another at the Sorbonne.
From 2001, Brian revisited the UK every year to teach at Birmingham University. The module on community involvement that he ran there, with his great friend Mike Beazley, focused on unlocking and sharing the deep understanding that students had about their own communities.
A great friend, leader and teacher, Brian was one of a tiny handful of heroes I have had the good fortune to know. We exchanged letters regularly over the years – he was a marvellous correspondent – about everything from political horrors to daily life, and I shall miss the long conversations over many a beer in dark pubs, discussing the ways of the world and plotting the next revolution. Brian taught me to understand those who suffer indignities at the hands of our society.
At the end of his life, he shared a small cottage in the Dordogne with his wonderful wife, Mary. He talked constantly about what a tower of strength she had been, and about his children, of whom he was very proud.
He is survived by Mary and their sons Conn and Finn. Two daughters, Niamh and Mary, predeceased him.
• Brian Anson, architect, born 26 March 1935; died 22 November 2009
Work resumes on Pelli’s Chile tower
Posted by The Sheet in Architecture News on December 21, 2009
Work has finally resumed on Cesar Pelli’s 300m-high Torre Gran Costanera in Chile after an 11-month delay caused by the financial crisis.
Poet Liz Lochhead made RIAS honorary member
Posted by The Sheet in Architecture News on December 21, 2009
The Royal Incorporation of Architects in Scotland has awarded an honorary fellowship to Glasgow’s poet laureate, Liz Lochhead.
Five shortlisted for urban landscape award
Posted by The Sheet in Architecture News on December 21, 2009
Five schemes have been shortlisted for a combined UK and German landscape architecture prize.
Muse’s Blackpool scheme goes for planning
Posted by The Sheet in Architecture News on December 21, 2009
Muse Developments has submitted a planning application for a £220 mixed-use scheme in Blackpool called Talbot Gateway.
First images of Heatherwick’s Stockton biomass plant
Posted by The Sheet in Architecture News on December 18, 2009
The first images of the Thomas Heatherwick-designed biomass power plant in north-east England have been released.
Pulling down Snowdonia’s power station would be a nuclear waste
Posted by The Sheet in Architecture News on December 22, 2009
Trawsfynydd, Snowdonia's Basil Spence-designed energy plant, is a triumph of modernist architecture – we should be celebrating it, not bringing in the bulldozers
Drive along the A470 into the heart of Snowdonia National Park and an unexpected, magnificent sight greets you. Fronting a man-made lake in the foreground, in the shadow of the rugged Moelwyn Mountains, are two giant nuclear reactors.
Not just any nuclear reactors, though. This is the Trawsfynydd nuclear power station, designed by Sir Basil Spence, arguably Britain's most talented modernist architect. It's an uncompromising but dramatic example of postwar architecture. Get a good eyeful while you can: unless an 11th-hour bid to save Trawsfynydd is successful, the bulldozers will roll in next year to partially demolish it.
Most power stations are designed by engineer-architects, and aesthetics come far down the priority list – if at all. But Trawsfynydd is different. Opened in 1968, it was one of the first generations of nuclear stations, conceived in the decade of Eisenhower's Atoms for Peace programme. It is optimistic, triumphant and utterly original: its uncompromising concrete facade towers 55 metres high, with neat rows of windows set around rectangle slabs jutting out of the building. It's crowned with four turret-like sculptural features on the roof. This is a building that unashamedly ignores the human scale. It intimidates and overpowers, a building that wouldn't look out of place on the set of Terry Gilliam's epic 1985 film Brazil. Trawsfynydd takes its cue from the dramatic and foreboding Snowdonia scenery, the towering linear form of the reactors juxtaposing beautifully with the organic and grandiose scenery that surrounds it. Now decommissioned, it's a fitting monument to the pioneering men who split atoms for a new future.
Yet the local community has long harboured anger that Westminster imposed the station on them decades ago. Feelings run deep and when, a year after it was shut down, there was talk of the station reopening, 300 people took to the streets to protest. Because of the radioactivity, the reactors must remain in some form for at least another century. Snowdonia planners want to halve the height of the reactor buildings to "improve" the look of the area. You sense there's a subconscious reason, too – that society is wreaking revenge on Trawsfynydd for nuclear mistakes of the past.
But instead of bastardising Trawsfynydd, we should be celebrating its bold and pioneering design. It's only in recent years that Britain has come to admit – even, grudgingly, to admire – its modernist past. West London's Trellick Tower, designed by Hungarian Brutalist Ernö Goldfinger, has become a byword for what renovation can do, having been transformed from a dilapidated and despised housing estate into a desirable place to live that features in the colour supplements and design magazines. But this change of heart came too late for other modernist masterpieces, notably the Dunlop Semtex factory in Brynmawr, Wales. Completed in 1953, the building – made up of nine geometric domes covering the central production area – was the inspiration for the design of the Sydney Opera House and was praised by Frank Lloyd Wright. In 1991, protestors staged nightly vigils around the building in an attempt to save it from demolition. But it was bulldozed a few weeks later.
I began an online debate about Trawsfynydd a couple of months ago, which stirred up strong feelings and a lively discussion – far richer than some of the poorly-attended public meetings held about the future of the site. Some believe that Trawsfynydd is an eyesore and should be erased from the landscape, among them the Plaid Cymru MP Elfyn Llwyd, who has said that any suggestion of the building being saved is "bonkers". Others have told me that Trawsfynydd has inspired them, including internationally-renowned abstract painter Sonja Benskin Mesher, who this month opened a solo exhibition of paintings of Trawsfynydd.
There is a chance that this masterpiece could be saved. The decision rests with Cadw, Wales's historic buildings authority which has been persuaded to consider listing Trawsfynydd; a site inspection will take place in the new year and a decision is expected in mid-February. When designing it, Spence knew the building would have a limited life as a nuclear power station. He therefore had the foresight to set himself a guiding question for the design, which was inspired by the great English neo-classical architect Sir John Soane: "Will it make a beautiful ruin?" Unless we act now, we'll never know.
Architecture, Art, Comment, Culture, Design, guardian.co.uk, Wales
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