Archive

Posts Tagged ‘UK news’

Roger Ebert: Farewell to my London home

February 26th, 2010

Legendary film critic Roger Ebert reminisces about the eccentric hotel on Jermyn Street that for 25 years was his sanctuary – but now faces demolition

Oh, no. No. No. This ­cannot be. They're ­tearing down 22 Jermyn Street in London. Much of the block is going. Bates hat shop, Trumper the barber, Sergios cafe, all vanishing. Jermyn Street was my street in ­London. My neighbourhood.

There, on a corner near the Lower Regent Street end, I found a time capsule within which the ­eccentricity and charm of an earlier time was still preserved. It was called the ­Eyrie ­Mansion. When I stayed there, I ­considered myself to be living there. I always wanted to live in London, and this was the closest I ever got.

Many years ago I was in London and unhappily staying in a hotel room so small, they had to store my empty ­luggage elsewhere on the premises. I could sit on the bed and rest my ­forehead against the wall opposite. Fed up, I walked out one fine Sunday ­morning to find a better hotel, but not an expensive one. I recalled that ­Suzanne Craig, a Chicago friend of mine, had once informed me: "If you like London so much, you should stay at the Eyrie Mansion in Jermyn Street."

"A haunted house?"

"No, stupid. Spelled like an eagle's nest. And Jermyn isn't spelled like the country, either."

I took the tube from Russell Square to Piccadilly, and surfaced to find backpackers sprawled on the steps of Eros, still asleep after their Saturday night revels. One block down Regent and right on Jermyn and I found a small sign over the sidewalk above a ­doorway. It opened upon a marble corridor pointing me to a man who regarded me from eyes in a scarred face. The gatekeeper of the Eyrie. He disappeared and, when I drew abreast, he was behind a wooden counter protecting an old-fashioned switchboard, a thick registration ledger and a wall of pigeonholes.

"How may I help you, sir?"

"Is this . . . a hotel?"

"Since 1685, I believe. You ­require a room?" He had a ­Spanish accent.

"I'd . . . how much are your rates?"

He consulted a card tacked to the wall.

"For you, sir, £35. That includes full English breakfast, parlour and ­bedroom, own gas fire and maid. Bath en suite."

The rate was a third of what I was paying. I asked to be shown these quarters. He locked the street door. Then we ascended in an open ironwork elevator to an upper floor and I was let into 3A. A living room had tall old ­windows overlooking Jermyn Street. Dark antique furniture: a sideboard, a desk, a chest of drawers, a sofa facing the fireplace, two low easy chairs, tall mirrors above the fire and the sideboard. He used a wooden match to light the gas under artificial logs.

A hall led to a bedroom in which space had been found for two single beds, a bedside table between them, an armoire, a chest, a small vanity table and another gas fireplace. In the bathroom was enthroned the largest bathtub I had ever seen, even in the movies. The fixtures were not modern; the toilet had an overhead tank with a pull-chain.

"This is larger than I expected," I said. "How many rooms do you have in all?"

"Sixteen."

Of course I took it. When I'd moved my luggage in, it was still only 10 o'clock and I rang down for the full English breakfast. The Spaniard said he would prepare it himself as soon as possible, "because Bob is indisposed". He appeared with two fried eggs, a rasher of bacon, orange juice, four slices of toast in an upright warmer, butter, strawberry jam and a pot of tea. I sat at my table, regarded my fire, poured my tea, turned on Radio 3 and read my Sunday Telegraph.

For 25 years I was to come to Jermyn Street time and again. Now I can never ­return. Some obscene ­architectural extrusion will rise upon the sacred land, some eyesore of retail and condos and trendy dining. Piece by piece, this is how a city dies. How many cities can spare a hotel built in 1685, the year James II took the crown? I will barely be able to bring myself to return to ­Jermyn Street, which is, shop for shop, the finest street in London.

That first morning I walked down Regent Street to St James's Park, strolled around the ponds, came up by Prince Charles's residence, climbed St James's Street and returned the full length of Jermyn. I ordered tea. It consisted of tomato, cucumber and butter sandwiches, which the English are unreasonably fond of; ham and butter sandwiches, which I am unreasonably fond of with Colman's English mustard; and cookies – or, excuse me, biscuits.

I had just settled in my easy chair when a key turned in the lock and a nattily dressed man in his 60s let himself in. He held a bottle of Teacher's scotch under his arm. He walked to the sideboard, took a glass, poured a shot, and while filling it with soda from the siphon, asked me, "Fancy a spot?"

"I'm afraid I don't drink," I said.

"Oh, my."

This man sat on my sofa, lit a ­cigarette, and said: "I'm Henry."

"Am I . . . in your room?"

"Oh, no, no, old boy! I'm only the owner. I dropped in to say hello."

This was Henry Togna Sr. He ­appears in a Dickens novel I haven't yet read. I'm sure of it. He appeared in my room almost every afternoon when I stayed at the Eyrie Mansion. It was not difficult to learn his story.

Henry and his wife Doddy lived in the top-floor flat. He may have been the only man to live all of his life within a block of Piccadilly Circus. The Mansion was originally purchased in 1915 by his parents, who came from Italy, and Doddy's parents, who were English. The two children grew up ­together, married, and fathered Henry Jr, "who keeps his irons in a lot of fires". He asked me how I learned of the Eyrie Mansion. "Oh, yes! Suzanne. A lovely girl."

I was usually in London three times a year: in midwinter, in May after Cannes, and in summer. Henry was naturally confiding, and cheerfully indiscreet. That first day he lamented that his assistant, Bob, had gone ­missing when I wanted my breakfast. "Bob is a great trouble to me," he said. "He gets drunk every eighth day. I have implored him to make out a seven-day schedule and stick to it, but no. He will not be content unless he is throwing us off."

"I was well taken care of by the man who checked me in," I said.

"Poor fellow. He was a famous jockey in Spain. His face was burned in a stable fire while he tried to help his horses. He was one of those handsome Spanish boys. He was in a movie once by Buñuel. A film critic like yourself must have heard of him."

"Oh, I have," I said. "I wonder which film?"

"You'll never get that out of him," Henry said. "Nor will he tell you his real name. He says he's hiding out here, working overnights. He doesn't want anyone in Spain to learn where he's gone."

I thought of Jermyn Street as ­Ampersand Street. On Jermyn Street you will find Turnbull & ­Asser, where Saul Bellow bought his shirts and Gene Siskel bought his boxer shorts. You will find ­Paxton & Whitfield, with its window stacked high with cheeses, and Fortnum & Mason, where you can lunch at the soda fountain or plunge into the food hall. Down the street a bit are Sims, Reed & Fogg, the antiquarian booksellers. And, of course, Hilditch & Key, Harvie & Hudson, Crockett & Jones, New & Lingwood – all shirt-sellers. The street is synonymous with shirts.

Next door to the hotel, there is Bates the hatters, with a big top hat hanging over the sidewalk. This was one place where you knew for sure you could find a bowler, a deerstalker or a ­collapsible opera topper. They have had the same cat for 50 years (although it has been stuffed and with a cigar in its mouth for most of that time). Next to Bates, Trumper the men's ­hairdressers. I make it a practice to get my hair cut in every city where possible. Near the Eyrie I went first to ­Georgio's, a one-chair Greek barber shop in a mews off Duke Street. One day I ­followed the Archbishop of ­Canterbury into his chair. In the basement of Simpsons, I had my hair cut next to the former prime minister Edward Heath. Jermyn is that kind of street. Finally I graduated to Trumper, a magnificent shop of brass and leather, wood and mirrors, and the aroma of hair tonics with exotic spices.

Sometimes in walking about the area, I would happen upon Henry, always dressed to befit Jermyn Street, who knew everyone of any interest, from the maitre d' at Wiltons to the man with the Evening Standard stand behind St James's Piccadilly. I never saw Henry in a pub, however, and ­despite the bottle of Teacher's under his arm, I never saw him tipsy.

One day he invited me to lunch. We walked over to a cozy, chic French restaurant in a byway near Leicester Square. Customers waiting in line were ignored as we were seated immediately. We were shown to our banquette by a handsome French woman of a certain age, whose hand, I observed, lingered longer on his shoulder than one might have expected. Henry saw me noticing, and his eyes twinkled.

He was much concerned about the future of the Mansion. "Our landlady is the Queen," he told me. "The Crown Estate agents have always tried to keep the lease terms reasonable, but the price of property is making the most alarming advances. I've raised my prices as much as I dare. Henry Jr wants to take over and make this a ­luxury hotel. Well, it's in the blood. But it frightens me. What kinds of loans will he have to take out? How will he make the payments?"

He brought Henry Jr around to meet me. This was a handsome, pleasant man; friendly, confiding. He said he hoped to keep the charm of the Eyrie Mansion. "But at the prices I'll be forced to charge, the public won't stand for this," he said, regarding the carpets, frayed at the edges, and the furniture somewhat nicked, and staring balefully at the gas fireplace.

As it happened, the gas fire was one of my favorite features. On jet-lagged winter mornings, before dawn, I'd awaken to a flat chilly as I liked it, pull on warm clothes, and venture out into the crisp night to walk up to the newsagent on Piccadilly. I'd buy the Telegraph, Independent, Guardian and Times, and a large cup of hot coffee from an all-night shop around the corner. With these I would return to the Mansion, tune in Radio 3, sit in my low easy chair before the fire, and dream wistfully that such was my life.

Later one winter's day, I set out to walk across Hyde Park from Kensington Gardens to Hyde Park Corner. It was raining, but that was fine with me; I had my Simpsons umbrella. What I didn't know was that the gates to the park were locked at dusk. This I discovered on a notice inside the gate I'd intended to use. I could see the traffic hurrying past up Serpentine Road from the direction of the Royal Albert ­Memorial. There were a lot of taxis.

Unfortunately, an iron fence topped with spikes stood between me and the road. It began raining harder. I scouted and found a low tree branch that might just allow me to stand atop the railing. That meant climbing a hill slippery with wet grass. I failed twice, and became smeared with mud. Digging in the point of my umbrella, I finally made my way up the hill and on to the limb, then balanced on the fence – but it was a good leap down to the ­sidewalk, and I could easily imagine myself with a sprained ankle. Or worse: impaled on the fence.

Pedestrians hurried past, apparently not seeing me. I tried calling for help. I was ignored. Well, if you were hurrying through the park in the rain and saw a fat man with a soaked coat, smeared with mud, balanced on a fence with a filthy umbrella, what would you do?

"Hey, look, it's Roger Ebert!" an American kid said. He was with a group of friends. "No way! Is that really you?"

"Yes, it is," I said. If I had been Prince Charles, I would have answered to "Roger Ebert".

"Far out, dude! What are you doing up there?"

"Trying to get down," I observed.

They helped me down and asked for my autograph, which was gladly ­supplied. I opened my umbrella, hailed a cab, and was at 22 Jermyn Street in 10 minutes. That was one of the occasions when I lit the gas fire and treasured it beyond all reason. After warming up, I filled the big tub for a bath. It was deep, and as long as I was tall. I tinted it a bright green with Wibergs Pine Bath Essence, inhaled warm pine, and reflected that you are never warmer than when you have been cold.

Word came in 1990 that Henry Jr had taken over operations and closed the hotel for ­renovation. In his announcement, he wrote: "I agreed to buy the hotel from my father, famous for his wonderful eccentricity." Of course, Henry Jr discontinued the gas fires.

The Eyrie Mansion was renamed 22 Jermyn Street, and my wife Chaz and I stayed there many times. I liked it, she adored it. When I said I missed the gas fire that you lit with a match, she gave me one of those looks I got when I said I would rather drive a 1957 Studebaker than any newer car. Or eat in a diner than a trendy restaurant. Or wear jeans. You know those looks.

As the luxurious 22 Jermyn Street, the hotel prospered. Croissants and cappuccino were now served as an alternative to full English breakfast. There'd be a flower on the tray. Clients included movie stars and politicians, who valued its privacy and its absence of a lobby. Doddy and Henry Sr would have been proud.

But in autumn 2009 Henry Jr wrote to us: "Sadly the lease has expired and the greater part of the city block in which the hotel is located is to be redeveloped by the Crown Estate as a project named St James's Gateway, over the next two or three years. Like much else in London, it is planned that this very comprehensive and handsome project will be completed in time for the Olympic Games in 2012."

Just what Olympic guests will be looking for in London. One more god-damned comprehensive and handsome project.

© 2010 The Ebert Co. distributed by Universal Uclick.This is an edited extract from Roger Ebert's blog, rogerebert.com

• This article was amended on 26 February 2010. The first paragraph originally read, "the whole block is going", including Getti the Italian restaurant and the Jermyn Street theatre. This has been corrected. Elsewhere in the piece Russell & Bromley was removed from a list of shirtmakers.


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , , , , , , ,

New US embassy is cool, remote and far from subtle

February 25th, 2010

The winning design by KieranTimberlake architects reflects the US political process: nominally open to all, yet, in practice, tightly controlled

The new US embassy to the Court of St James's has been designed, says the US state department, to "reflect the values of the American people". Just as well, perhaps, that its architects, KieranTimberlake, aren't being asked to reflect the values of the British people, otherwise we'd probably end up with a building in the guise of a footballer-style Kentucky Fried Georgian luxury mansion with a Cabe-approved Tesco attached and the whole caboodle opened by Justin Timberlake.

Luckily for London, the American people are considerably more sophisticated and less populist than we are. Here in Nine Elms, the new embassy will adopt the form of a giant glass box on stilts rising from a Princess Diana-style memorial park, complete with a lake and what appears to be a ha-ha. Seriously.

KieranTimberlake have a well-established track record designing nicely resolved college campuses, including those of Yale and Cornell. Given that the London embassy will be a cross between a secure compound and a political and cultural complex, the Philadelphia practice may well prove to be a sound, if unexciting, choice.

Keen for the building not to be seen as a Bush-era bunker – the vast new US embassy in Baghdad is about as diplomatic as a "shock 'n' awe" strike by the military – the design makes extensive use of glass, although this will be protected by a blast-resistant polymer skin.

Cool, remote and superficially transparent, the winning design does reflect what we can divine of the US political process. Nominally open to all and yet, in practice, tightly controlled, the system of US government and its prevailing culture, aped bad-temperedly in Britain, does indeed inform the brief to KieranTimberlake and their response to it.

Embassies have, however, for good reasons, become an awkward building type today. The days of pottering about in the fine library of the Eero Saarinen-designed US embassy in Grosvenor Square are long gone. All foreigners are suspect. They should keep their distance in future just as this defensive embassy, surrounded by corporate-style office blocks, will from them and, sadly, central London itself.


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , , , , ,

Jonathan Glancey on the new US embassy for London

February 25th, 2010

In praise of… Battersea | Editorial

February 25th, 2010

Battersea, which is to play host to the new US embassy, is already famous for many things

There is room for divided views about the Kieran Timberlake glass cube design for the new US embassy building in London. There is less room for argument about its site. Battersea is famous for many things – the dogs' home, the funfair and the power station among them – but its riverside proximity to central London remained a well-kept secret until 1980s house-hunters realised it is only 200 yards from Chelsea across the river. Battersea's MP, Martin Linton (a former Guardian journalist), says if he stands on the House of Commons terrace and leans out a bit he can see the top end of his constituency where the embassy will one day be. The MP bridles at the notion, promoted by the late George Melly, that "transpontine London" has nothing to offer its new residents. South London is simply a north London concept, Mr Linton retorts. The new embassy in Nine Elms, he reckons, will be closer to Westminster and Whitehall than the existing one in Grosvenor Square. Washington's choice is interesting in other ways too. It will be built close to an area once known as the Island, a small enclave of Victorian slum terraces that once housed one of the most economically deprived communities in the capital, one reason why Battersea is one of a handful of places in Britain to have ever elected a Communist to parliament. And can the state department have been aware that Battersea is the last resting place of their nation's revolutionary war turncoat, Benedict Arnold, who is buried in Battersea parish church?


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , , ,

US Ambassador is spoiling our view of the Thames with this boring glass embassy

February 24th, 2010

British jurors, including Richard Rogers, have argued the building is unfit to represent the US in Britain

With a billion dollar budget and a prime site on the banks of the Thames, the plans for the new US embassy in Britain were intended to cement Washington's "special relationship" with London for decades to come.

But tonight's long-awaited unveiling of designs by US ambassador Louis Susman for one of the most expensive embassies ever built threatened to be overshadowed by a high-level spat.

The Guardian has learned that the only two British members of the seven-strong design jury "fought to the death" against their American counterparts in a failed bid to block a winning design which they argued was not world class and was unfit to represent the US in Britain. Lord Rogers, the architect of the Pompidou Centre in Paris, and Lord Palumbo, the property developer and art collector, felt so strongly about the inadequacies of the winning design, they submitted a "minority report" setting out their case to the US state department in Washington, which commissioned the building.

As Susman unveiled the designs of the Philidephia-based firm of Kieran Timberlake – a 12-storey cube clad in a blastproof glass and plastic façade – it emerged the British jurors believe the Obama administration should have selected a rival design by a Californian designer, Thom Mayne, who won the Pritzker Prize, architecture's version of the Nobel, in 2005. They were overruled by the five Americans on the panel, including former ambassador Clyde Taylor.

Rogers and Palumbo are said to have thought the design was boring and "not good enough to represent one of the great nations in London", said sources familiar with the jury process. By contrast, they considered Mayne's design to be "touched by genius".

After the spat with two of the most prominent figures in British architecture, and both peers, a second diplomatic banana skin looms: the US government has yet to agree with HM Treasury about whether it will pay VAT on the building cost and the $1bn (£650m) price quoted yesterday did not include VAT. Susman said last night talks are continuing.

The embassy is set to become one of the most expensive in the world, cheaper only than America's fortress-like outposts in Baghdad and Islamabad.

In 2008 Washington announced a move out of the Mayfair building occupied since the beginning of the Kennedy era for security reasons. Attempts to fortify the building in such a built-up location proved difficult and the embassy's 1,000 staff had begun to outgrow the space.

But the decision to move to a new home on a vacant semi-industrial site in Wandsworth surrounded by a 30-metre blast zone, sparked fears that it planned a "fortress embassy" in south London. The UK government's own design advisers worried that early designs suggested a building that "turns its back" on the local area and lacks "a sufficiently civilising effect".

The designs unveiled yesterday suggest a medieval keep and even include a moat-like ditch along one side. James Timberlake, the lead architect, said that, inspired by European castles, he had tried to use the landscape to provide a defence against terror attacks and there would be "no fences and no walls".

"We hope the message everyone will see is that it is open and welcoming," he said. "It is a beacon of democracy – light filled and light emitting."

KieranTimberlake, little known outside the UK, was a surprise winner against three of America's most celebrated architects, all of whom have won the Pritzker.

Alongside Mayne were the firm of IM Pei, who designed the Louvre pyramid in Paris, and Richard Meier, who built the Getty Centre in Los Angeles. KieranTimberlake is best known for its buildings for Ivy League universities and environmentally-friendly design.

Contacted last night, Rogers declined to comment on his view of the building. "It was a very well-organised competition and I can't comment on the decision of the jury," he said. Palumbo could not be reached for comment.

Questioned about the row, Susman said simply: "The entire committee signed off on the project."

Paul Finch, the chairman of the Commission for Architecture and the Built Environment, which will advise on whether the building should be granted planning consent, said the designs appeared to be of a high quality.

"It is a sophisticated cube," he said. "The designers have given a lot of attention to the environmental controls. This will stand out in an area that is due for a huge wave of development."

The plans feature an attempt to integrate defences in a park landscape using grass berms, a man-made lake and even a moat. The most iconic part of the Mayfair building is likely to remain. There are plans to relocate the bronze eagle which sits on the roof of the current embassy as a statue in the gardens.

The Mayfair building is earmarked for development as luxury apartments and a hotel after it was bought for an estimated £350m by the Qatari government.

Expert view: Cool, remote and far from subtle

The new US embassy to the Court of St James's has been designed, says the US state department, to "reflect the values of the American people". Just as well, perhaps, that its architects, KieranTimberlake, aren't being asked to reflect the values of the British people, otherwise we'd probably end up with a building in the guise of a footballer-style Kentucky Fried Georgian luxury mansion with a Cabe-approved Tesco attached and the whole caboodle opened by Justin Timberlake.

Luckily for London, the American people are considerably more sophisticated and less populist than we are. Here in Nine Elms, the new embassy will adopt the form of a giant glass box on stilts rising from a Princess Diana-style memorial park, complete with a lake and what appears to be a ha-ha. Seriously.

KieranTimberlake have a well-established track record designing nicely resolved college campuses, including those of Yale and Cornell. Given that the London embassy will be a cross between a secure compound and a political and cultural complex, the Philadelphia practice may well prove to be a sound, if unexciting, choice.

Keen for the building not to be seen as a Bush-era bunker – the vast new US embassy in Baghdad is about as diplomatic as a "shock 'n' awe" strike by the military – the design makes extensive use of glass, although this will be protected by a blast-resistant polymer skin.

Cool, remote and superficially transparent, the winning design does reflect what we can divine of the US political process. Nominally open to all and yet, in practice, tightly controlled, the system of US government and its prevailing culture, aped bad-temperedly in Britain, does indeed inform the brief to KieranTimberlake and their response to it.

Embassies have, however, for good reasons, become an awkward building type today. The days of pottering about in the fine library of the Eero Saarinen-designed US embassy in Grosvenor Square are long gone. All foreigners are suspect. They should keep their distance in future just as this defensive embassy, surrounded by corporate-style office blocks, will from them and, sadly, central London itself.

Jonathan Glancey


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , , , , , ,

Ron Arad finally gets major UK retrospective at the Barbican

February 18th, 2010

Exhibition by trailblazing Israeli-born designer, architect and artist opens in London, his hometown for more than 35 years

There are bookshelves that bounce and roll, cutlery that pirouettes, a chandelier that you can text and chairs. Lots and lots of chairs. In what may be one of the most comfortable exhibitions of recent years, Britain's first major Ron Arad retrospective opens tomorrow.

The Barbican's art gallery in London is following up major shows it has held on Corbusier and Alvar Aalto by devoting three months to a designer, architect and artist still very much alive and working. Arad, who was born in Israel but has been based in London for more than 35 years, said he hoped anyone "interested in things" would visit.

The head of art galleries at the ­Barbican, Kate Bush, said: "We want to pay tribute to Ron Arad's very special place in the world of design. He is an incredibly important figure and this exhibition lays out his vision and his process as it has evolved over 30 years."

The show is divided into sections with names such as Volumising, Rolling, Superforming and Scavenging, where one of Arad's most celebrated chairs – the Rover chair, which uses a car seat salvaged from a scrap yard – is exhibited.

Then there is the Failing section, displaying designs that weren't taken up, or were misconceived. That includes the "table that eats chairs" in which chairs can be folded underneath the table top. "I think it was too complicated for the manufacturer," said the show's curator Lydia Yee, "but Ron's still confident that someone will come along."

There have been recent Arad shows at the Pompidou in Paris and Moma in New York, but the one in London was completely ­different, said its curator, Lydia Yee. "Ron wanted to do something new in his home town and we wanted … to show his ­interest in new materials and in new technologies."

There is a crystal chandelier called Lolita which has more than a thousand embedded LED lights and its own mobile number to which one can send texts, which are then displayed.

Arad and his studio have also created mechanical tricks to show off some of the pieces such as a long moving platform for bookshelves called "reinventing the wheel". The idea is that you can roll your bookshelves where you would like them – perfect for the indecisive – but there is a wheel within the wheel so the books remain upright.

For many, Arad will be best known for his chairs, many of which are on display and which are most definitely not for sitting on. A large section of the gallery will, however, contain chairs where visitors can take the weight off their feet and – should they wish – play table tennis on a stainless steel ping pong table designed by Arad to suit his game.


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , , , , , , , , , ,

Take the next exit for the green motorway service station

February 8th, 2010

A new motorway service station being designed in the Cotswolds will lead the way environmentally

Motorway services and green design are ­awkward bedfellows. It's not simply the petrol, the ­shopping and the fast food, but ­service stations take up a lot of space. And of course, they're dispiriting to look at.

But the challenge of building new services in the Cotswolds between junctions 11 and 12 of the M5 persuaded the developers to hold a competition. It was won by Glenn Howells, whose Savill Building in Windsor Park was shortlisted for the Stirling prize three years ago.

Designed to "knit" into the landscape so that even the petrol station cannot be seen from the road, it will emit a fifth of the carbon dioxide of normal motor­way services thanks to a kitchen garden, the creation of habitats for wildlife, and the use of ­locally sourced Douglas fir as the ­building material.

The consortium, whose planning application is to be considered by Stroud district council, includes Westmorland, the ­family-run firm behind the much-admired Tebay services in Cumbria, which won Egon Ronay's British Academy of Gastronomes' Grand Prix award last year.

The trouble is, having arrived you might never want to leave. The architect describes it as "a rural oasis", but it's not just the peace and quiet that is so appealing. It's the homemade food, the fresh veg and organic meat that will be sold in the farm shop, and the locally produced art and crafts replacing Marks & Spencer, WH Smith and other brands that will be banned, while profits will be ploughed back into the local community.

Green and foodie credentials aside, it's the design that will put it on the architectural map. The undulating shapes echo the landscape, while the ­timber-clad ­interior looks like the ­business- class lounge of a ­Scandinavian airport, with curvy chairs, low coffee tables and subtle lighting. Bring on the organic apple juice, the carrot cake and the hand-thrown pottery.

Amanda Baillieu is the editor of Building Design.


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , , , ,

‘Stonehenge? It’s more like a city garden’

February 7th, 2010

Design watchdog hits out at plans for £20m visitor centre at megalithic jewel in England's cultural crown

Its footpaths are "tortuous", the roof likely to "channel wind and rain" and its myriad columns – meant to evoke a forest – are incongruous with the vast landscape surrounding it.

So says the government's design ­watchdog over plans for a controversial £20m visitor centre at Stonehenge, the megalithic jewel in England's cultural crown. CABE, the Commission for Architecture and the Built Environment, has criticised the design of the proposed centre, claiming the futuristic building by Denton Corker Marshall does little to enhance the 5,000-year-old standing stones which attract more than 800,000 visitors each year.

Its concerns are the latest chapter in the long saga surrounding the English Heritage-backed project, and follow a ­government decision two years ago to scrap on cost grounds a highly ambitious £65m scheme to build a tunnel to reroute traffic to protect the World Heritage site.

The centre, which has been approved by Wiltshire county council planners, has divided opinion.

"We question whether, in this landscape of scale and huge horizons and with a very robust end point that has stood for centuries and centuries, this is the right design approach?" said Diane Haigh, CABE's director of design review.

"You need to feel you are approaching Stonehenge. You want the sense you are walking over Salisbury Plain towards the stones."

But the "twee little winding paths" were "more appropriate for an urban ­garden" than the "big scale open air ­setting the stones have", she added.

The many columns were meant to be "lots of trunks" holding up a "very delicate roof", she said. "Is this the best approach on what is actually a very exposed site. In particular, if it's a windy, rainy day, as it is quite often out there, it's not going to give you shelter. We are concerned it's very stylish nature will make it feel a bit dated in time, unlike the stones which have stood the test of time".

CABE believed the location of the ­centre, at Airman's Corner, is good, and were pleased "something was happening at last", but questioned the "architectural approach". The centre has the full support of local architects on the Wiltshire Design Forum, and has been passed by the local planning committee. Nevertheless English Heritage recognised it was an emotional and divisive subject.

"Innovative architectural designs will always polarise opinion, and often nowhere more so that within the architectural world itself," it said in a statement.

"The Stonehenge project has to overcome a unique set of challenges," it said. "This has required a pragmatic approach and, following widespread consultation, we maintain the current plans offer the best solution".

Stephen Quinlan, partner at Denton Corker Marshall, defended the design. The roof was meant to be a "sun canopy" and not offer weather protection in what was, principally "an outdoor experience".

"It's not an iconic masterpiece. It's a facility to help you appreciate the Stonehenge landscape. It's intellectually ­deferential in a big, big way to Stonehenge as a monument.

"I wouldn't even mind if you couldn't remember what the building looked like when you left. The visitor centre is not the destination," Quinlan said.

However, he added: "We don't take criticism from CABE lightly. And we are ­crawling through their comments to see if there are any improvements we can make."


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , , , , , , , ,

Greenpeace plans to build fortress on Heathrow runway site

January 28th, 2010

Environmental group says the plan will create a legal headache for any government pushing ahead with airport's expansion

Environmental activists have invited some of the UK's leading architects to design an "impenetrable fortress" to be built on land earmarked for the third runway at Heathrow.

Greenpeace plans to build the winning design at the centre of the site where airport operator BAA hopes to construct a £7bn runway and a sixth terminal.

The charity bought the parcel of land last year and then distributed ownership to more than 60,000 supporters around the world.

Organisers say the small individual plots will create a legal headache for any government trying to push ahead with the expansion plans.


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , , , , , , , , , ,

Saved for the nation: monuments to Britain’s cold war

January 28th, 2010

Government joins with English Heritage to put nuclear bunkers at RAF Upper Heyford on list of protected national monuments

Some of the most sinister historic monuments in Britain, a set of hardened concrete bunkers built to shelter American nuclear bombers, are to be protected and preserved, it has been announced.

A planning inquiry into the future development of Upper Heyford, near Bicester, has accepted the English Heritage argument that the site is one of the best preserved Cold War landscapes in Britain. The government has now agreed that the heart of the complex, which is on the Schedule of Monuments with sites such as Stonehenge, should be protected from development.

Andy Brown, regional director of English Heritage, who gave evidence at the enquiry, said: "The decision to safeguard these structures brings England's cold war heritage into the mainstream, alongside the Georgian and Victorian buildings that people more often think of as our architectural heritage.

"I hope this is a conservation milestone, which will mark the cold war being embraced as a legitimate part of our heritage."

Simon Thurley, the chief executive, agreed: "To anyone over 50, the cold war is too recent to feel like history, but to 17-year-olds it is just as historic as Napoleon," he said. "Within one minute [of the alert] planes could have been fired up; in six minutes they could be bombing Moscow."

In the late 1950s and 1960s, at the height of the cold war, the old first world war airstrip at Upper Heyford was expanded. The runway was first strengthened, then extended to 2.5 miles to take B52 Bombers. The hardened aircraft shelters, were added in 1967, after the Six Day War, when Israel destroyed much of the Egyptian airforce on the ground. The hangars were protected by motorised 85-tonne doors, and were designed so that at least one nuclear bomber could be kept running inside, night and day. One technician who forgot to wear his ear protectors as an F111 ignited its engines lost his hearing permanently.

A small American town grew up around the base, marked out by US-style hydrants on every street corner, complete with a supermarket – almost unheard-of in Britain at the time – selling delicacies such as Hersey bars and Oreo biscuits.

Most of the equipment and fittings, and anything regarded as sensitive, was stripped out when the Americans finally handed the base back to the British in 1994. But the command rooms survive, protected by six inch thick steel doors, with the names of the last crews written up in chinagraph pencil, and an American style burger bar complete with the last menu specials. A more grim sight also remains: the outdoor showers designed to wash off nuclear fallout.

Some of the buildings will continue in light industrial use; others will be preserved as a museum; and there will be some housing development away from the most sensitive part of the site. Schoolgroups are already frequent visitors, eager to examine the structures that could have ended the world in a matter of minutes.


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The Sheet Architecture News , , , , , ,