Archive for December, 2011
Summits at the summit: the Shard could host talks for world leaders
Posted by The Sheet in Architecture News on December 30, 2011
Europe's tallest building could include exclusive space on 78th floor for top-level meetings, says building's developer
It would be the summit at the summit. The top floor of the Shard, Europe's tallest skyscraper, could be made available for high powered conferences and political talks, the building's developer has told the Guardian.
Irvine Sellar said he is considering making the 78th floor, which is so elevated it is sometimes above the clouds, an exclusive meeting space which would allow political leaders to hold talks with an unrivalled bird's eye view above London Bridge.
"We could send Europe's top politicians up there and not let them down until they solve the Euro crisis," he said
The highest room anywhere in Europe has space for up to 60 people and would be accessed by a dedicator elevator off the public viewing galleries.
The plan is being debated by Sellar and his architect, Renzo Piano. Already a four-storey public viewing area is being built starting on the 68th floor which is likely to cost around £20 to access.
But the developer, keen to recoup investment of around £2bn in the building, is aware of the revenue-generating potential for the even-higher space.
Piano, who said he believes the building "celebrates life and in some measure, poetry", has mooted an alternative use as a meditation suite and is said to be keen the space should not become a playground only for the super-rich and powerful.
At the Shard's upper levels, helicopters and planes coming into land at City airport fly along at eye level and on a clear day the view stretches 40 miles. Construction workers said it sometimes snows at the top while it is raining at ground level.
The idea has echoes of the Pyramid of Peace in Kazakhstan's capital Astana. That Norman-Foster-designed building has a 200-seat chamber at the apex for meetings of the leaders of the world's religions.
The 310m-tall Shard is due to be fully built next June and looks likely to open in the depths of Britain's economic slump. So far no tenants have signed up for the 27 floors of office space, although the developers said they are in talks with several and are being selective. It is 80% owned by the Gulf emirate of Qatar and has been described by critics as "a sharp piece of global capitalism" and "a latter-day pyramid celebrating the arrival of the Qataris on the world stage". But many Londoners have taken the building to their hearts.
Piano insisted that the building was not an out-of-date monument to "arrogance and power", and pointed out it could help save the countryside from sprawl. "This is not about money," he said. "It is about surprise and joy. This is about the way cities should go. They should stop and we should not go beyond the green belt. If you do this by going vertical that sends a message about conserving land. The building is not about arrogance and power but about increasing the intensity of city life."
Works have begun on fitting out an 18-storey five-star Shangri-La hotel within the Shard and ten huge apartments at its top, which are likely to sell for tens of millions of pounds each.
Sellar, whose company owns 20% of the tower, insisted the building was not out of sync with the era of austerity.
"If we want to get out of this malaise then this is the sort of project that should be done," he said. "We think it is a great image. It says, 'This is London, this is the Shard and we can kick sand in the face of the Eiffel Tower.'"
Unesco will next year consider whether to downgrade or even remove the World Heritage status of the Tower of London and Westminster Abbey in part because of the Shard's looming silhouette.
This month inspectors from the United Nations world heritage committee paid a four day visit to London to consider the effectiveness of measures to protect the World Heritage status of the sites.
"We are concerned that the sites might lose their outstanding universal value by being dwarfed by inappropriate development," said Patricia Alberth, programme specialist for the Europe area at Unesco in Paris. "They could decide to remove their status or decide whether they should be placed on a list of danger which means they could be delisted."
New owner for Bennetts Associates tower
Posted by The Sheet in Architecture News on December 30, 2011
The top 10 news stories of 2011
Posted by The Sheet in Architecture News on December 30, 2011
Predictions 2012: Angela Brady, RIBA president
Posted by The Sheet in Architecture News on December 30, 2011
Construction to fall by more than 5% in 2012
Posted by The Sheet in Architecture News on December 30, 2011
Formroom wins planning for Manchester hotel
Posted by The Sheet in Architecture News on December 30, 2011
JDS and Arup reveal Wuhan competition entry
Posted by The Sheet in Architecture News on December 30, 2011
The arts in 2012: architecture
Posted by The Sheet in Architecture News on December 30, 2011
Jonathan Glancey picks his highlights of the year ahead
Tate oil tanks
The cavernous old underground oil tanks beneath Tate Modern, the former Bankside power station, are due to reopen as performance and installation spaces in time for the Olympics. Connected to three new galleries, the tanks are the first phase of a £215m extension by Swiss architects Herzog & de Meuron. July. tate.org.uk
Shard London Bridge
Designed by Renzo Piano for property developer Irvine Sellar, the Shard, towering over the capital at 310 metres, is now the tallest building in western Europe. Rising from London Bridge station, this steel and glass-clad spire houses offices, restaurants, hotel, flats and four floors of public viewing galleries: on a clear day you will be able to see for 40 miles. May. the-shard.com
ArcelorMittal Orbit
Britain's tallest and biggest sculpture, the bright red Orbit – designed by Anish Kapoor and Cecil Balmond, with engineers Arup and architect Katherine Findlay – is made of complex, calligraphic loops and whirls writ in steel. As a public viewing gallery overlooking the 2012 Olympics site, this is London's 21st-century answer to the Eiffel Tower. May. london.gov.uk
Caro goes to Chatsworth
In a move that will no doubt provoke widely differing reactions, 15 steel sculptures by Anthony Caro will be set against the restored south front of Chatsworth House in Derbyshire, as well as gathered beside its sensational Emperor Fountain, designed by the great Joseph Paxton (creator of the Crystal Palace). Caro has often been inspired by powerful architecture, and there's no denying William Talman's baroque Chatsworth is a supremely confident building. 28 March to 1 July. chatsworth.org
Room for London
Imagine spending the night in an intriguing and isolated temporary house, designed by artist Fiona Banner and architect David Kohn, sitting atop the brutalist Queen Elizabeth Hall on London's South Bank. The tugboat-like building's first six months are already taken; bookings for July to December will be available in January for this project by Artangel and Alain de Botton's Living Architecture. January 2012. Details: living-architecture.co.uk
National 9/11 Museum, New York
A lofty, glazed atrium, sheltering two of the trident columns that once supported one of the twin towers, marks the entrance to the museum at the site of Manhattan's ground zero. Designed by Oslo-based Snohetta with local firm Davis Brody Bond, much of this long-awaited museum is underground. September. 911memorial.org/museum
Boris halts Sheppard Robson’s west London towers
Posted by The Sheet in Architecture News on December 29, 2011
Bethlehem’s church of the punch-up | Giles Fraser
Posted by The Sheet in Architecture News on December 30, 2011
The latest brawl between Armenian and Orthodox monks in Bethlehem is a product of Christianity's romance with buildings
It's become something of a Christmas tradition: the annual ecclesiastical punch-up at the Church of the Nativity in Bethlehem. This year the Palestinian riot police had to be called in after it all kicked off again, with a hundred or so Armenian and Greek Orthodox monks bashing seven bells out of each other with brooms. Apparently one monk was provocatively brushing somewhere that was supposed to be the responsibility of someone else. In this feverishly contested space, if you clean it then you are maintaining it, and if you maintain it then you are making a claim to owning it: that is the logic, such as it is.
Which is why the three church traditions that share the administration of the Church of the Nativity still can't agree on who pays for urgent repairs to the church roof, despite the fact that water is now coming through and damaging the building. All sides want to pay, and refuse to let the others put their hands in their pockets. To pay would be to own.
Of course, it's been worse. In 1853, a similar jurisdictional squabble saw several Orthodox monks murdered and provided the Russian tsar with the excuse he needed to start the Crimean war. That time the row was between the Catholics and the Orthodox about who had the key to the main door and the hanging of a star over the manger.
In part, this nonsense originates in a longstanding romance between Christianity and architecture – a romance that began with the building of the Bethlehem church and its sister establishment, the Church of the Holy Sepulchre in Jerusalem, under the direction of the newly converted Emperor Constantine in the late 320s. Since then the church has been responsible for some of the world's finest architecture. Who would have guessed the followers of an itinerant preacher, for whom there was no room inside the building to be born in, would became the managers of such a spectacular collection of buildings?
For some, church buildings ought to be treated as little more than rain shelters. From this perspective, a church is first of all the people. And the buildings – however beautiful and impressive – are a distraction, transforming the clergy into caretakers and turning in on itself the outward-looking mission of the church. This is how the monks of Bethlehem end up being so petty and narrow-minded. Church buildings have become a fetish, admired by secular aesthetes and those who want an impressive stage set in which to celebrate life's big events, but a drain on the resources and moral imagination of the church. What we need is another dose of healthy iconoclasm to remind us that the message of the gospel is not to be confused with bricks and mortar.
In my more puritan moments I have some sympathy with this line. You cannot spend much time at St Paul's without noticing how much the needs of the building can come to dominate, and how the worship of many visitors is really that of Sir Christopher Wren. But the Christian romance with buildings is still worth defending, not least because the story of Christmas is that God comes alive in material reality.
Christianity is not some esoteric philosophy. It is rooted in time and place. It begins on the streets before it points to the stars. And church buildings are an expression of the rootedness of the incarnation. Where it all goes wrong is when those who are so caught up in the running of church buildings forget about the purpose for which the place was built, and come to believe that the stones matter in and of themselves. When that happens Christianity becomes petty and narrow, all about who cleans a few metres of floor, rather than a means of imagining human life from the context of all eternity.
Architecture, Art and design, Christianity, Christmas, Comment, Comment is free, Giles Fraser, Middle East and North Africa, Religion, The Guardian, World news
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