Posts Tagged Cycling

Olympic velodrome in race for building of the year prize

The London 2012 Olympic velodrome, nicknamed the giant Pringle, has been put in the long list by RIBA for the Stirling prize

The velodrome for the 2012 Olympics, nicknamed the giant Pringle for its crisp-like curves, is in the running to be named building of the year after picking up a design award from the Royal Institute of British Architects.

The 6,000-seat building, completed in February, is the first construction at the £9bn Olympic park in east London to be granted an award by RIBA.

The creators, Hopkins Architects, were advised by Sir Chris Hoy, the multiple gold-medal winning track cyclist, and the award looks set to be the first of many for the park. The 80,000-seat main stadium has already been applauded for its simplicity, and, meanwhile, the aquatics centre, designed by Zaha Hadid, is still being built, and a giant viewing-platform, designed by Anish Kappor to resemble a twisted roller-coaster, is halfway to completion.

The RIBA's long list, for contenders for the £20,000 prestigious Stirling prize, includes the velodrome, a project led by Sir Michael Hopkins, who designed Portcullis House in Westminster.

On the list of 97 buildings granted RIBA awards is the Royal Shakespeare Theatre in Stratford-upon-Avon, refurbished and rebuilt by Bennetts Associates; the Evelyn Grace city academy in Lambeth, London, designed by Hadid; and the Faustiono winery in the Ribero del Duero region in Spain, designed by Foster and Partners.

An elegant but austere pavilion cafe, designed by Caruso St John Architects, in the grounds of Chiswick House, the 18th-century neo-Palladian villa in west London, is one of the smallest projects but is being tipped by some for a place on the RIBA shortlist.

The president of the institute, Ruth Reed, said the list illustrated the health of British architecture in spite of the recession hitting construction. In August 2009 about 30% of architects were without jobs or enough work to keep busy, according to the institute, and about 4,000 architects were made redundant.

"In spite of a terrible worldwide recession many exceptional buildings have been and continue to be built in the UK and overseas," said Reed. "Even in constrained times committed clients working with talented architects can achieve architectural excellence."

However, so thin have the opportunities been in the UK that some of British architecture's biggest names only won prizes for projects in Europe. Last year's Stirling Prize winner, David Chipperfield, won awards for a shopping centre in Innsbruck and a museum in Essen, but nothing for a building in the UK.

The legacy of Labour's education building programme continued to be rewarded with 14 schools and nine university buildings granted awards.

An architectural experiment by the writer Alain de Botton was recognised, with prizes for two private holiday homes he commissioned and which he lets through his group, Living Architecture.

One of the homes is a tar-black house with a concrete and wood interior designed by the Glasgow firm Nord Architecture and set on the shingle beach of Dungeness, in Kent, near the home of the late film-maker Derek Jarman. The second is a balancing barn in Suffolk, by the Dutch practice MVRDV, which cantilevers unnervingly off a hillside. The homes offer people the chance to experience cutting-edge architecture – though a week in the balancing barn in September costs £2,604.


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Olympic velodrome threatens to give London games a good name | Richard Williams

There is so much noise surrounding other permanent facilities that the success of the velodrome is in danger of being overlooked

Sir Chris Hoy can uncross his legs. The lavatory he asked for is exactly where he wants it to be, close to the track at the Olympic velodrome, ready for riders who feel the need to answer a last-minute call of nature before tightening their toe straps for the pursuit or the keirin at the 2012 Games.

In the Tour de France the competitors can just hop off the bike on some deserted country road, or even pull down their shorts and irrigate the scenery as they freewheel along. Such relief is hardly possible in a crowded velodrome, making Sir Chris's khazi just one of the impressive details to be found in a structure that threatens to give the London Games a good name.

So much noise continues to be made about the scandals surrounding other permanent facilities in the Olympic park – notably the uncertain future of the main stadium and the outrageous £180m cost overrun on the aquatic centre – that the success of the velodrome is in danger of being overlooked. Here is an arena that was properly planned, properly costed and delivered on time, to specification, and within its £90m budget. So it can be done.

The building was 24 hours away from being handed over to the organisers as a finished article when I was shown around the other day. To get there, a visitor to the Lee Valley park passes by the unremarkable main stadium, its looks compromised by the absence of the "wrap" intended to provide its visual signature but cancelled in order to save £7m on a building costing almost £500m, and the swimming pool, an aesthetic disaster thanks to the need to flank Zaha Hadid's surprisingly unremarkable core design with two temporary grandstands in order to bring its capacity up to Olympic requirements.

Then the eye falls on the swooping roof of the velodrome, rising elegantly at its two ends to echo the banked turns inside and supported by exterior walls of warm red cedar, a hint of the wooden piste itself. Here is something of genuine beauty, an elegant example of form following function.

You might have guessed that it was designed by a cyclist. Mike Taylor, a senior partner at Hopkins Architects, a practice noted for creating the canopied Mound stand at Lord's, led the design team. He rides, which helped him to listen with a sympathetic ear to Hoy's suggestions, such as the request to ensure that the opening of the main spectator access doors does not create a cold draught for the riders (the solution involved industrial "air curtains"). Hoy also asked for the design to incorporate seating around the top of the banked ends to create an unbroken wave of noise as the riders circulate.

Ron Webb, an Australian former champion who specialises in track design, created the piste itself from 54km of Siberian pine. Shipped from Archangel, sawn into narrow strips in a German mill, it is secured with 360,000 nails into a 250m ribbon that rears at either end into a 42-degree banking. Previously responsible for the Manchester and Sydney velodromes, Webb reportedly reckons that this is one on which records will be broken.

I'm going on about this because so many big building projects in Britain invite scorn for their flaws of design and execution, and in the case of sporting arenas for their farcically inept legacy planning, too. I was tagging along with a visiting party from the Save the Herne Hill Velodrome organisation, a group dedicated to preserving the 450m shallow-banked concrete track used in the 1948 Games, for whom Taylor has created a striking set of plans to ensure the south London track's rescue from its present state of dilapidation and its revival not just as a centre for community and schools use but, as the architect puts it, "for getting people started on the way to the high end of the sport".

Herne Hill looks as though it is going to survive. And so will the 2012 velodrome: a building which, whatever the fate of its troubled neighbours, will in time become a perfect, much loved monument to whatever achievements it may witness.


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Boris Johnson’s London Cycle Hire scheme flogs our birthright to Barclays

The mayor's deal has smothered London's public spaces with what may be the largest piece of corporate branding in existence

London's long-awaited cycle-hire scheme is launched this week. While there's no doubt it's a valuable addition to the capital's public transport options, it strikes yet another blow to the idea of London as a dignified city. First of all, there's the name. Paris has the Velib, Montreal has the Bixi; what does London get? Barclays Cycle Hire. Clearly the good people at Barclays marketing thought long and hard about that one.

Maybe it's not worth getting too wound up about the name – selling the rights to popular institutions is unlikely to make anyone who watches, say, the Barclays Premier League or the Npower Championship even blink. What is new, however, is the prospect of more than a hundred kilometres of the capital's road surface being branded with corporate livery. The city's new dedicated cycle lanes – two of which recently opened, with another ten to come before the Olympics – are called "Barclays Cycle Superhighways" and painted Barclays blue.

London can now claim the dubious honour of hosting what is surely the largest piece of corporate branding in existence. It's not just the scale, the mind-blowing square footage, that is shocking about this – it's the principle. We're not talking about some supersized billboard here: we're talking about the mayor selling off the very road beneath our wheels – one of the few parts of a city that counts indisputably as public space. Whether they realise it or not, whether or not they even care, from now on thousands of cyclists are doomed to commute on a giant Barclays ad.

The sponsorship deal, worth £25m, has been presented as a coup for Boris Johnson. It has enabled him to recover some of the £140m Transport for London spent on the cycle-hire scheme and has even been presented as "payback" for the mayor's support of the banks during the credit crunch. Surely, however, £25m is a small price to pay for such an invasive piece of branding? If a city of the global stature of London can't afford to provide rental bikes without turning its urban fabric into a massive endorsement, we're in trouble.

There is something, too, in the gibes suggesting this is not just Barclays blue but Tory blue. Neither New Labour nor former mayor Ken Livingstone did anything to prevent the growing privatisation of the city, but it is hard to imagine Livingstone selling off a chunk of the public realm in such brazen fashion. Johnson seemingly lacks any sensitivity to the ethical or aesthetic side-effects of his deal-making – this is, after all, the man who condemned the Stratford Olympics site to a hideous 115m-high sculpture – precisely the kind of vainglorious ego trip the Olympics can do without – based on a 45-second chat with Britain's richest man in the cloakroom at Davos. We must be careful not to assume a loss of innocence; private ownership and interests have held sway in this city for centuries, and often cooperation between private and public bodies is the best way to meet the city's needs. However, the public realm that the Victorians handed over to municipal authorities to manage in the public good – including streets and pavements, squares, and infrastructure such as transport and sewage networks – has been under steady assault since the privatisation of the Thatcher years.

A decade ago, Naomi Klein argued in her book No Logo that we had reached a point where it seemed nothing could happen anymore without a corporate sponsor. The inevitable upshot of their growing social power was that brands wanted an expanded visual presence. T-shirt logos and media advertisements were no longer enough: branding had to be a fully immersive experience. As the superhighways prove, there is no amount of space a brand will not happily fill, with public bodies all too willing to hand it over. TfL is becoming ever more imaginative about the bits of Tube stations it will sell off to advertisers – including, now, the space between escalators and the gates of the exit barriers. Every year the Regent Street Christmas lights, once a public gesture organised by the Regent Street Association, turn a major thoroughfare into a 3D advert for some fashion label or blockbuster movie.

Increasingly entire pieces of London have become brands in their own right, a process that began in the 1980s with the privately owned Canary Wharf development. Since then, so-called "business improvement districts" have been popping up all over the capital under the banner of regeneration: Broadgate in the City, Paddington Basin, Kings Cross Central, the new Spitalfields Market, the More London development near Tower Bridge. It's a national phenomenon, too, exemplified by "malls without walls" such as Liverpool ONE or Brindleyplace in Birmingham. They might look like other parts of the city, but they are very different. Stroll through Broadgate and you'll notice the logo of developer British Land studding the pavements. These are privately owned developments, policed by private security guards who can throw you out for the slightest misdemeanour or – if you happen to be sleeping rough, say – simply for disrupting the projection of affluence. In the case of More London – a series of sterile glass blocks set amid some rather uptight landscaping on the South Bank – the very name is a deliberate deception. The developers are trying to claim this is just an ordinary piece of the city. Don't believe it.

Anyone who wants to find out more about the insidious privatisation of British cities should read Anna Minton's latest book, Ground Control. The point is that we are in danger or running out of unbranded space. Though it may seem innocuous, the branding of cycle lanes sets an all-too-exploitable precedent. As citizens we have a communal birthright, which includes the public realm. Our representatives are supposed to protect that – not sell it off to corporations who are neither responsible nor accountable for the spaces of which they claim symbolic ownership. Politicians seem only too ready to turn our cities into horizontal billboards. If we're not vigilant, the urban landscape is going to become a brandscape.


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