Today is the tenth letter in our A-Zdvent calendar and features John Pawson. His British firm remodelled this old church in Augsburg, Germany earlier this year (pictured) and yesterday announced he’ll be the latest designer of a holiday home for Alain de Botton’s Living Architecture project.
See more architecture by John Pawson Architects »
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John Pawson appeared first on Dezeen.
News: John Pawson has become the latest designer of a holiday home for Alain de Botton’s Living Architecture project with his proposal for a black brick lodge in the Welsh countryside (+ slideshow).
Named Life House, which translates as Tŷ Bywyd in Welsh, the single-storey residence was designed by John Pawson Architects for an isolated site on the lower slopes of a valley near the small town of Llanbister.
It will become the eighth residence in the Living Architecture series, which was initiated by author and philosopher Alain de Botton to promote modern architecture by offering members of the public a chance to stay in new architect-designed houses.
Pawson’s design features a cross-shaped plan where rooms are set along the edges of two intersecting corridors. Large rooms described as “contemplative spaces” will be positioned at the ends of each corridor, including two set into the hillside and two facing out across the landscape.
Handmade Dutch bricks will be used to construct the building, creating an all-black facade and a contrasting white interior. These will be complemented by terrazzo flooring and oak ceilings.
The house will be available to rent from 2015 and will offer three bedroom suites for guests.
Other Living Architecture projects due to open in the next two years are the Peter Zumthor-designed Secular Retreat in Devon and a house inspired by fairytales by FAT and Grayson Perry for Essex. The first completed house in the series was MVRDV’s Balancing Barn, which cantilevers over a hillside in Suffolk.
Here’s a project description from Living Architecture:
Life House/ Tŷ Bywyd
In mid Wales, near the small town of Llanbister, amidst a landscape of rolling hills, Living Architecture has invited the architect John Pawson to create a timeless house of simplicity and beauty – Life House/ Tŷ Bywyd.
The site lies on the lower slopes of a small and intimate Welsh valley, remote and away from any near neighbours. The house has been designed to reflect the surrounding undulating landscape. Carefully placed to take advantage of the distant Welsh views, it is a series of ‘rooms’ set along two long corridors, at right angles to one another. Each corridor leads to two separate spaces of contemplation, one semi-submerged in the ground, the other set in the wider landscape. Three bedroom suites are individually created for the experience of music, reading and bathing.
The house will be constructed of Dutch handmade bricks; black for the exterior and white for the interior. As would be expected in such a finely detailed John Pawson designed house, the polished terrazzo floor, set against the white brick, and light oak timber ceilings, will create a peaceful and life calming space to spend time in.
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News: UK architecture watchdog the Architects Registration Board has been described as “crackers” and “pathetic” after the body gave Dezeen 14 days to amend an article describing John Pawson as an architect (+ interview).
In a letter sent today, ARB wrote: “It has been brought to the Board’s attention that the article ‘St Moritz Church by John Pawson’ on your website, www.dezeen.com, refers to John Pawson as an ‘Architect’.”
The letter points out that Pawson – who is highly regarded internationally for his minimalist architecture – is not a registered architect and is therefore not allowed to use the title. ARB has the power to prosecute offenders.
“John Pawson is not a registered architect and therefore should not be described as such,” the letter states. “Could you please confirm in writing within the next fourteen days the steps you will be taking to update this article accordingly.”
Our article started with the sentence: “British architect John Pawson’s minimalist remodelling of a church in Augsburg, Germany, includes slices of onyx over the windows to diffuse light more softly through the space.”
However, since it was Dezeen referring to Pawson as an architect, rather than Pawson himself claiming to be one, we contacted ARB to ask if the body had any power to force us to amend our story.
“We’re quite limited by what we can do,” admitted ARB professional standards administrator Sarah Loukes, who wrote the letter. “It’s not like we’re going to take you to court or anything.”
But Loukes claimed it was “in the public interest” for Dezeen to use an alternative description for Pawson, and suggested “architectural consultant”.
Loukes admitted that, since Pawson’s studio does employ at least one registered architect, we could use the phrase “architects John Pawson” to describe Pawson’s company, but not “architect John Pawson” to describe Pawson as an individual.
Pawson studied at the Architectural Association in London but did not complete the lengthly period of study required to qualify as an architect – a prerequisite for being allowed to register with ARB.
However Pawson avoids referring to himself as an architect, despite having a world-famous body of architectural work that includes houses, apartment buildings and churches. He is also designing the future home of London’s Design Museum.
“It’s a bit crackers,” said Pawson’s office manager Chloe Hanson. “He never finished his studies. That’s why he’s not allowed to say he’s an architect.”
“The whole thing is a bloody joke,” said Amanda Baillieu, editor of UK architecture magazine Building Design. “He’s as much an architect as Richard Rogers. Everyone knows that.”
Last year ARB apologised to Baillieu for writing to her to say that her publication could not describe world-famous architects Renzo Piano and Daniel Libeskind as architects, since they were not registered in the UK.
“All they can do is run around chasing after websites for calling people architects rather than going after the big firms who don’t pay their staff, who behave incompetently, or who bring the profession into disrepute,” Baillieu added. “It’s pathetic.”
The ARB was established 1997 to regulate the profession, following the introduction of new legislation protecting the title of “architect” in the UK. The legislation prohibits anyone from using the title “architect” in business or practice unless they are registered with ARB.
Here’s the transcript of the interview between Dezeen editor Rose Etherington and ARB professional standards administrator Sarah Loukes:
Rose Etherington: Why is it that we can’t refer to John Pawson as an architect?
Sarah Loukes: It’s because we work in accordance with the Architects’ Act 1997 and within that act – it’s actually section 20 of that act – it specifically protects the title “architect” and so in order for a person to use that title they need to be registered with us at the ARB.
So it’s protected by law, but the act as I think I mentioned in my letter is very specific and it does only protect “architect/architects” whereas the derivatives “architecture” and “architectural” are not protected under the act so we don’t have jurisdiction over those.
Rose Etherington: How should we refer to John Pawson in that case?
Sarah Loukes: I would suggest an “architectural consultant”. As long as it doesn’t specifically refer to “architect” then that’s fine – there’s nothing illegal there.
Rose Etherington: Is his practice registered, or is the problem with him as an individual?
Sarah Loukes: We register the individual so as far as I’m aware, I don’t think his practice is registered… Can I just get my files out if that’s all right? One moment.
I’ve had a look and I’ve just searched. As I say it’s generally the individuals who register under the act so I’ve just done a search generally for the practice and the name of John Pawson and it does bring up a Mr Benjamin Collins so actually you are right in the sense of the practice can be called architects because there is a registered individual.
[The issue] would be specifically related to [John Pawson] being called an architect or referred to as an architect.Rose Etherington: The practice itself is called John Pawson – so we could say “architects John Pawson have completed a church” but we couldn’t say “architect John Pawson has completed a church”?
Sarah Loukes: That’s it. If that makes sense. It’s quite specific in what we can allow and can’t allow. But as I say, because I’ve located this Mr Benjamin Collins who is registered at the practice, in that sense reference can be made to “architects” as the practice and not as Mr John Pawson being an architect individually.
Rose Etherington: So we could say “architects John Pawson” even though there’s only one registered architect there?
Sarah Loukes: Yeah.
Rose Etherington: Does it matter if the person who’s a registered architect worked on the project we’re referring to?
Sarah Loukes: Not essentially, no. He’s essentially the architect at the practice so it allows him to use this title and the practice be called architects.
That would be okay because there isn’t any specific regulation over the plural or anything like that with regards to “architect/architects”. And yes, that would be fine in that context.
Rose Etherington: I’ve had a careful look at the PDF guidance you sent over, but in this case it’s not John Pawson calling himself an architect, it’s us as a media organisation.
Sarah Loukes: Quite right and that’s why essentially I’ve gone direct to you because it’s not him actively doing it himself but it is still an inaccurate way of describing him because he isn’t registered with us and he’s not an architect. So in that sense that’s why I’ve gone directly to yourselves and not to him individually.
Rose Etherington: So is it him that’s responsible for the way in which he’s talked about?
Sarah Loukes: Not essentially when it comes to on your website or on a publication because he’s not actively holding himself out as an architect himself. it’s slightly different if you see what I mean. But it’s still our responsibility to contact the publication or writer to advise you that that description is inaccurate.
Rose Etherington: Is there any chance that because of what we’ve written John Pawson will be in any trouble?
Sarah Loukes: No, hence why I’ve contacted you directly but we wouldn’t contact him.
Rose Etherington: If we didn’t amend the article, what would then happen?
Sarah Loukes: Well we’re quite limited by what we can do to be honest. It’s not like we’re going to take you to court or anything like that. But we would like to say that in the public interest it would be better to describe him as an alternative. Because in the way that it is, it’s kind of misleading because he’s not an architect.
Rose Etherington: When you say it’s not in the public interest, what do you mean by that?
Sarah Loukes: Because he’s not registered with us, he doesn’t fall under our jurisdiction and as we’re the regulator and, you know, architects are held to account and have to adhere to our code of conduct and regulations and guidance that we set out.
So when a person isn’t an architect they don’t fall under our jurisdiction and there’s not that protection there for the public.
Rose Etherington: So if John Pawson was going around calling himself an architect you could prosecute him but you don’t actually have the power to do that to publication?
Sarah Loukes: No, it couldn’t be dealt with in the same way.
Rose Etherington: Would it make a difference it we weren’t based in the UK?
Sarah Loukes: I think it does. The fact that if you’re based in the UK then there is that onus that if it is a UK-based business or publication it should adhere to the regulations of the act, whereas if it was outside of the UK it wouldn’t fall under our jurisdiction and legality.
Rose Etherington: But there’s not any legal reason why we need to comply anyway?
Sarah Loukes: No it’s very difficult for me to say you have to do this. But it’s our job to inform publications and websites of the correct way of describing the individual because it’s a protected title.
So we try and do our best to ensure that the individuals are described in as accurate a way as possible. Hence why we contact you directly if something like this is brought to our attention.
Rose Etherington: How would someone qualify to be called an architect under your regulations?
Sarah Loukes: They have to go through a process of registration with us. I couldn’t give you all the details myself because it actually falls under my registration team’s criteria but it is roughly around seven years of education and training to actually become eligible to register with us at the ARB.
As far at I’m aware there’s Part I, II, III and the final part is an exam here in order for the individual to pass and to enable them to register.
Rose Etherington: Is there a fee?
Sarah Loukes: The fee itself I’m not 100% sure. When we said about the examination, I know it’s over £1000 but when the individual is eligible to register with us there is an annual retention fee. This year it’s £98.50 so that’s what’s required for them to stay on the register.
Rose Etherington: Can people leave and come back?
Sarah Loukes: Yes you can come off the register and come back on at any point but there is a difference if you come back on within two years they don’t have to provide evidence of continuous professional envelopment, whereas if it’s over that two year period they have to show evidence of that.
Rose Etherington: Has John Pawson ever been registered with the ARB?
Sarah Loukes: It doesn’t look like he has. There are three individuals by the name of Pawson and I would be able to see if there was someone previously registered.
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British architect John Pawson’s minimalist remodelling of a church in Augsburg, Germany, includes slices of onyx over the windows to diffuse light more softly through the space.
Slices of finely veined translucent white stone were laminated to glass and installed in the choir windows. “The effect of this is to generate the optimum light conditions, screening out direct sunlight and bathing the space in a haze of diffused luminescence,” John Pawson architects explained.
The apse is the brightest space in the church, followed by the nave where the altar sits on a new podium. Lighting in the side aisles is more subdued, where clerestory windows and carved sculptures of the apostles maintain links to the church’s Baroque past.
At night the illumination comes from LED lights concealed in the choir apse, at the base of columns in the nave and in rings round the cupola domes overhead.
The floor and altar are finished in Portuguese limestone, while the dark stained wood of the pews, choir stalls and organ provides a strong contrast with the otherwise pure white interior.
The St Moritz Church was founded nearly 1000 years ago and has been transformed many times over by fire, changes in religious practice and bombing. After the Second World War only the baroque outer walls remained and the church was rebuilt by German architect Dominikus Böhm in a simplified post-war style.
“The work has involved the meticulous paring away of selected elements of the church’s complex fabric and the relocation of certain artefacts to achieve a clearer visual field,” said the architects.
John Pawson is celebrated for his minimalist architecture and the firm was asked to renovate the church after the parish councillors visited his Novy Dvur monastery in the Czech Republic.
The studio is also currently working on the new Design Museum in the former Commonwealth Institute building in west London and 26 high-end apartments for a new leisure complex at Miami Beach.
See more architecture by John Pawson »
See more church design »
Photographs are by Gilbert McCarragher.
Here’s some more information from the architects:
The church of St Moritz has been through many changes since its foundation nearly a thousand years ago. Devastating fires, changes in liturgical practice, aesthetic evolution and wartime bombing have each left their mark on the fabric of the building. The purpose of this latest intervention has been to retune the existing architecture, from aesthetic, functional and liturgical perspectives, with considerations of sacred atmosphere always at the heart of the project.
The work has involved the meticulous paring away of selected elements of the church’s complex fabric and the relocation of certain artefacts to achieve a clearer visual field. Drawing on existing forms and elements of vocabulary, an architectural language has evolved that is recognisable in subtle ways as something new, yet has no jarring foreign elements.
St Moritz is laid out according to the clear linear principles of a Wegekirche and this spatial character, with its strong forward focus on the apse, is retained and reinforced in the current re-ordering, with the eye purposefully drawn through the nave to the apse, which is designed as a room of light, heralded by the Baroque sculptor Georg Petel’s figure of Christus Salvator.
A key gesture of the intervention is the quiet transformation of the apse windows, which must function architecturally as a source of light and liturgically as an expression of the threshold to transcendence. The existing glass is replaced with thin slices of onyx. The effect of this is to generate the optimum light conditions, screening out direct sunlight and bathing the space in a haze of diffused luminescence.
The treatment of the apse windows represents the culmination of a wider strategy for light, whose aim is to achieve a clear distribution of light, with the apse as the brightest area in the church. After the apse, the area of the nave where the liturgy is performed is brightest, whilst the side-aisles revert to more subdued light conditions. The Baroque clerestory windows, relieved of their former function of illuminating the artwork and decoration, now serve as indirect sources of light.
In line with the requirements of the Second Vatican Council, the altar is relocated to a newly created island in the nave, bringing the liturgy closer to the congregation and making it possible to site the principal liturgical landmarks – the altar, the ambo and the sedilia – on a single level.
Project: interior remodelling, St Moritz Church
Location: Augsburg, Germany
Client: Diocese of St Moritz
Project architects: Jan Hobel, Reginald Verspreeuwen
Completion: April 2013
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News: British architect John Pawson has designed 26 high-end apartments for a new leisure complex at Miami Beach.
Many of the residences will occupy the top floors of The Miami Beach EDITION, a new hotel under development within the structure of the former Seville Beach Hotel, which opened during the 1950s but closed its doors in 2006. The remaining apartments will be located within an 18-storey tower that has recently been constructed alongside.
John Pawson‘s designs are for residences surrounded by floor-to-ceiling windows, which will lead out to expansive terraces featuring swimming pools, fireplaces and outdoor kitchens. The apartments will also feature a dedicated entrance, including an additional private route intended for the use of celebrity residents.
Bathrooms will be furnished with concrete bathtubs and sinks, while bleached teak flooring will run throughout. Rooms will be kitted out with all necessary furnishings and homeware, from bed linen to kitchen utensils.
The project was commissioned by New York developer Ian Schrager, who launched the Delano hotel on South Beach 15 years ago.
Pawson, who is based in London, is also currently working on the final stages of the new Design Museum under construction within the former Commonwealth Institute building in London. See more stories about John Pawson, including an interview we recorded with the architect in 2010.
Here’s some more information from the developer:
Ian Schrager presents 26 one-of-a-kind residences at the Miami Beach EDITION
These “Homes in the Sky” are designed by world-renown architect John Pawson
Ian Schrager is back in Miami Beach for the first time in 17 years since the launch of his game-changing Delano hotel. Delano ushered in a new modern era and rebooted Miami Beach as a top resort destination. It was the first new hotel to come along since the 60’s, and it was truly groundbreaking. It attracted those who had previously abandoned Miami Beach for more exciting vacation locales. Now, with the city on the brink of yet another resurgence, Schrager introduces his next groundbreaking project that captures the spirit of the times again, just as the Delano did. Miami Beach is no longer simply a resort destination, but is fast becoming a bonified, world-class, international city with its vibrant art scene, first-rate architecture and cultural institutions attracting global citizens from all around the world. It is now a city second to none.
With this new coming of age, Schrager heralds in this next era and raises the bar once again. This time for residential Miami living—introducing homes fit perfectly for and worthy of this new generation of global citizens. Just as Delano reshaped the landscape and had a groundbreaking cultural impact on Miami Beach, so will The Residences at The Miami Beach EDITION. These 26 limited edition residences set themselves apart from anything else in Miami Beach and are the most unique and distinct spaces in all of South Florida. “There is simply nothing else like them currently in the marketplace. We tried to capture the details of life in the details of the architecture,” says Schrager. All with commanding panoramic views, each of these sophisticated and stylish “Homes in the Sky” is a one-of-a-kind, custom one-off and different from the other. This makes them perfect for the new world traveler and global citizen looking to establish roots in the new Miami.
Designed by world-renown architect John Pawson, the residences will sit on the top floors of the existing, landmarked 1950s building that will be the Miami Beach EDITION hotel, as well as in an adjacent, newly constructed 18-story tower. Dedicated to the “Good Life”, The Residences offer the best of all worlds: the privacy and individuality of a custom, one-of-a-kind home; the benefit of ownership; and exclusive access to all the services, privileges and amenities of a unique world-class urban resort, including a myriad of exciting and dynamic food, beverage and entertainment options. Although part of The Miami Beach EDITION, The Residences will have their own dedicated private entrance as well as an anonymous “celebrity” entrance, for ultimate privacy.
Taking into consideration that people come to Miami to be outside, the outdoor spaces at The Residences are finally done correctly and are not merely an afterthought. Expansive “Outdoor Rooms” invite effortless continuity between indoor and outdoor living. Gardens literally in the sky are akin to those found in private residential homes. These extraordinary outdoor spaces feature private lap pools and plunge pools, outdoor kitchens, dining areas, fireplaces and pergolas designed by John Pawson. There is enough space for a private outdoor gym or to enjoy yoga, along with soaring panoramic views of both the ocean and the bay—a true rarity and a unique feature that showcases the bay and ocean during the day and the magic of Miami at night. Additionally, many of the homes in the new building feature expansive views of both the city and the bay while those on the top floors of the hotel have vast ocean views that make you feel as if you are standing on the deck of a ship.
Pawson uses an unparalleled level of finishes and details to create interiors of maximum comfort, functionality and aesthetic pleasure. Generous living areas are light filled with floor-to-ceiling windows and bleached teak wood flooring throughout, including the balconies and terraces. Each residence has Pawson’s magic touch with custom designed, open Bulthaup kitchens with islands as well as master bathrooms with Italian white onyx translucent screens and custom-cast integral concrete bathtubs and sinks.
It’s the art of living not the job of living. Schrager takes this concept to the next level by introducing “Residential Prêt-à-Porter” which offers residences in complete move-in condition… you only need to bring your toothbrush! For a seamless transition into a comfortable home, Schrager offers a once in a lifetime opportunity otherwise not available: custom interiors designed by John Pawson and the Ian Schrager Design Studio, including everything one would need in a household from linens to dishes, towels to cookware, all pre-selected, unpacked and put away prior to arrival. These unique homes, dedicated to the “Good Life”, offer all the benefits of ownership, the services and amenities of a world-class urban resort, and a completely managed household without the bother of managing it or the full expense of maintaining it. Schrager continues to exceed expectations by recognizing what residents want and need before they even know it themselves—a home with the work taken out of it, ideal for resort living.
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News: “There may be architects that can design better than me but the important thing is making it happen,” architect John Pawson told Dezeen today, at the ground breaking for the new London Design Museum that he’s designed.
Due to open in 2015, the museum will be housed inside the former Commonwealth Institute building and will retain the building’s hyperbolic paraboloid roof structure.
“Architecture isn’t just about creating new buildings, sometimes its about retuning what’s already there,” said Pawson. “Both are important as architecture.”
The Commonwealth Institute building was first completed by architects RMJM in 1962, but has been dormant for over ten years. Once renovated, the building will provide three times the exhibition space of the museum’s current home at Shad Thames on the Southbank.
Talking about his design, Pawson explained how the atrium will be central to the interior space. “When you walk in you’ll be able to see all the way up to the roof,” he said. “Now we just need to make sure what was drawn is what gets built.”
We published images of the proposals earlier this year – take a look here.
See all our stories about John Pawson »
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London’s Design Museum have unveiled designs by British architect John Pawson for their new home in the former Commonwealth Institute building in west London.
Top: new design museum, second floor
Above: new design museum, second floor showing the permanent exhibition
Due to open to the public in 2014, the £80 million plans include galleries for permanent and temporary exhibition spaces, an auditorium and a library, which will accompany a separate housing development by Dutch firm OMA.
Above: new Design Museum, entrance foyer
The former Commonwealth Institute, which was completed in the 1960s, hasn’t been used for over ten years but will retain its hyperbolic paraboloid roof structure in the refurbishment.
Above: new Design Museum, exterior view
New glazed entrances will lead in towards the galleries located on the ground floor, basement and second floor, giving the museum three times the exhibition space of its current home at Shad Thames on the Southbank.
Above: existing Commonwealth Institute building, exterior view
See all our stories about the Design Museum here and listen to our podcast interview with John Pawson here.
Above: existing Commonwealth Institute building, interior
Visuals are by Alex Morris Visualisation. Photos of the existing building are by Luke Hayes.
Above: existing Commonwealth Institute building, interior
Here are some more details from the museum:
£80m PLANS UNVEILED TO CREATE WORLD’S LEADING DESIGN MUSEUM IN LONDON
The Design Museum today unveiled plans to create the world’s leading museum of design and architecture at the former Commonwealth Institute building in Kensington, London. Designs for the site have been produced by two of the world’s most innovative architectural practices: John Pawson has redesigned the interior of the Grade 2* listed building and OMA has planned the surrounding residential development.
The move will allow the new Design Museum to become a word class centre for design, nurturing British talent and its international influence on design of all kinds. It will bring the museum into Kensington’s cultural quarter, where it will join the V&A, Science Museum, Natural History Museum, Royal College of Art and Serpentine Gallery, creating a platform for the promotion and support of the next generation of creative talent.
The new building will open to the public in 2014, giving the Design Museum three times more space to showcase its unique collection. The museum aims to double its visitor numbers to 500,000 a year, and will greatly expand its education and public events programme with state of the art facilities.
The 1960s Commonwealth Institute building has lain dormant for over a decade. Its refurbishment will give a neglected London icon a new life and purpose and will revitalise an important area of West London. In July 2010 the Royal Borough of Kensington and Chelsea granted planning permission to Chelsfield Partners and the IIchester Estate to modify the Grade 2* listed building and for a residential development. The design team for the new project has been assisted by Lord Cunliffe, a leading member of the original architectural team for the Commonwealth Institute in 1958, and by James Sutherland, the building’s original structural engineer.
The new Design Museum, which is an £80 million project, will open in 2014. The Design Museum fundraising target is £44.66 million of which it has secured more than 60% through the support of a number of individuals and trusts and foundations.
The Museum announced today that The Dr Mortimer & Theresa Sackler Foundation has pledged to support the project, making a generous donation to create The Sackler Library, a learning resource at the heart of the new Design Museum. Other major donations include The Conran Foundation, which has pledged £17m, The Heritage Lottery Fund which has made a first stage grant towards an application of £4.95m, The Wolfson Foundation, The Sir Siegmund Warburg’s Voluntary Settlement, The Hans and Marit Rausing Charitable Trust, The Atkin Foundation and, in addition, a further £2.75m has been raised in early stage fundraising from a small number of individual donors.
Culture Minister Ed Vaizey, said “It is immensely exciting to see the plans for the new Design Museum at the Commonwealth Institute in Kensington. The UK leads the world in design and architecture and it is entirely appropriate that we should be creating the world’s greatest Design Museum at this iconic London landmark. The new Design Museum will be a truly outstanding visitor attraction, learning resource and celebration of the best of British creativity. It is only through the generosity of others that this has become possible and I would like to extend my gratitude to all those who have made this possible.”
The Mayor of London, Boris Johnson, said “From the Olympic Park to the new bus for London, our city is a hotbed of creativity, the epicentre of design, and deserves a world-class museum to celebrate the amazing work being created here in the UK and around the world. Housed in an iconic architectural landmark and offering state of the art learning facilities, this new museum puts design firmly in the spotlight and will become a must see destination for visitors as well as designers and students.”
Deyan Sudjic, Director of the Design Museum, said “This is an important step forward for the Design Museum. We are very excited by all the work that John Pawson and the rest of the design team have done. They have put forward a brilliant strategy to bring the former Commonwealth Institute back to life, which will allow the public to see the essential qualities of this historic listed building, and make a wonderful new home for the Design Museum.”
John Pawson, architect, said “The most exciting thing about the project is that, at the end of it all, London will have a world-class museum of design, with galleries for permanent and temporary exhibitions, education spaces and a library. There is particularly nice symbolism in the fact that in making this legacy for future generations, we are saving a work of iconic architecture. I hope the result will demonstrate that you don’t need to demolish old buildings to make wonderful new public space.”
Reinier de Graaf of OMA adds “In conceiving a new future for London’s former Commonwealth Institute, we pay tribute to a period that continues to inform contemporary architecture.”
Sir Stuart Lipton, Chairman, Chelsfield, said “We are delighted to be supporting the Design Museum to realise its vision of becoming the world’s leading centre for design and architecture. Britain’s designers are taking the lead internationally and it is fitting that there will be a world-class centre for design and architecture in London.”
ARCHITECTURAL STATEMENT
JOHN PAWSON
A centre of design for London
The goal of the project is the creation of a world-class museum of design in the heart of London, with galleries for permanent and temporary exhibitions, education spaces and a design reference library. The architectural vision developed to realise this goal has been profoundly shaped by the fact that the new Design Museum’s permanent home is within the skin of an existing building – the Grade 2* listed former Commonwealth Institute, designed by Robert Matthews, Johnson-Marshall & Partners, which opened in 1962. Driving the process of reclaiming this iconic example of post-war British Modernism as a contemporary cultural space has been the wish to preserve and enhance its inherent architectural qualities for future generations of Londoners and visitors to the city. The outcome should be a building that feels as though it has retuned itself.
A new public space in Holland Park
This process of natural evolution and readjustment begins with the character of the relationship of the new Design Museum with its setting in Holland Park. Freedom of access will allow the public to move comfortably from the green spaces of the park to the interior spaces of the building in a relaxed, open and instinctive manner. In line with the wider design strategy for the building, greater transparency is introduced on the north and east facades. Glazed entrances are created to the ground floor foyer and the existing stained glass windows, currently installed on the south façade, are relocated to the north façade, adjacent to the new entrance from Holland Park.
Dynamic spatial experiences
Once inside, visitors will be naturally drawn up through the atrium space towards the hyperbolic paraboloid roof structure – the defining architectural gesture of the original design. The central staircase leads to the mezzanine level – an echo of the original dais, at the centre of the exhibition building. As in the original building, this level offers a chance to view the whole building, as well as providing space for exhibiting a key piece from a visiting exhibition or the permanent collection. As one moves upwards through the central void, so the framed view of the roof will widen and transform, assisted by the enlarged openings in the top floor slab, creating a dynamic experience that will change according to the time of day and the light conditions. Providing sightlines to all of the building’s principal spaces, the central void acts as a key medium for orientation and navigation. From the entrance foyer, a visitor will see the entire route through the building, winding up from the central platform around the opening at first floor level to the permanent exhibition space on the top floor and the sweeping curve of the roof. The material palette is purposefully restricted, with concrete terrazzo floors at basement and ground levels and hardwood used for the remaining floors and also for wall panelling.
Layout
The programme is split between five floors, providing a total around 10,000m2. The museum’s main exhibition space is located on the ground floor, together with the café, bookshop and design store. The first floor contains the administration and learning departments, design reference library and an area of open storage where the museum’s collection may be accessed for research purposes. An exhibition of the permanent collection, designed by Studio Myerscough, is located on the top floor, where the roof soars up to 16m above one’s head, alongside the restaurant, event space and the members’ room, all of which will enjoy views over Holland Park. The second exhibition space and the auditorium are located at basement level, which also accommodates curatorial spaces, workshops, kitchen and back of house areas.
Opening up sightlines to the hyperbolic paraboloid roof
In the existing building, the central concrete section of the roof rises up through the building on two structural supports, arches over the central space and then down towards the top floor. The floor slab opens up around the structure, allowing it to pass through to the floor below. To give the central roof structure the same freedom, two new openings are formed in the new top floor slab. The larger opening relates to the central void and an additional smaller opening visually connects The Sackler Library on the first floor to the permanent exhibition space. The creation of the second opening allows further views up to the roof from the first floor level, as well as allowing views into the workings of the museum for visitors to the permanent exhibitions on the second floor.
Horizontal elements
A key part of the design rationale is for the floor slabs to be clearly expressed as strong horizontal elements. The slab edges are therefore finished in white, as in the original building, contrasting with the timber walls and defining the volumes of the first and second floors. To reinforce this idea, all volumes, including the lift cores on the top floor, are located around the perimeter of the building.
Structure
One of the key elements to the building is the structural design developed by Arup to retain and preserve the original roof structure. These complex proposals will allow the internal floors of the existing building to be demolished, a new basement to be built across the site and the new structure of the museum building to be constructed under the roof.
The existing fabric of the building has shaped how the new structural design has developed. The rhythm of the edge support mullions sets up a typical structural grid of approximately 9m x 9m. Shear walls, built in as part of the service cores distributed through the building, will brace the structural grid.
A series of piles, temporary beams and trusses will be built around and through the existing structure to support the internal roof support columns and the roof edge support mullions. The external walls and internal structure will then be demolished and the new structure built up around the temporary works until it can support the roof. The temporary supports will then be removed and the new structure completed, to allow the fit-out work to commence.
British architect John Pawson has installed the largest lens ever made by crystal brand Swarovski in the southwest tower of St Paul’s Cathedral for the London Design Festival, which starts on Saturday.
Called Perspectives, the installation comprises a spherical mirror suspended at the top of the 23-metre tower, mirrored in a hemisphere below the lens at the foot of the staircase to create a composite image of the whole tower for visitors gathered at ground level.
The spiralling Geometric Staircase connects the Dean’s door to the upper levels of the cathedral and is normally closed to the public.
Pawson’s installation marks the 300th anniversary of the cathedral’s completion and remains open to the public until January 2012.
See all our stories about the London Design Festival in our special category.
Photographs are by Gilbert McCarragher.
The information below is from Swarovski Crystal Palace:
John Pawson installs Perspectives, a new work for Swarovski Crystal Palace, in partnership with the London Design Festival, within St Paul’s Cathedral, marking the 300th anniversary of the completion of Sir Christopher Wren’s masterpiece.
The UK’s leading minimalist, John Pawson, and Swarovski Crystal Palace have created a spectacular installation in the Geometric Staircase of St Paul’s Cathedral to reveal a new perspective of this architectural masterpiece and the genius of Sir Christopher Wren.
Entitled ‘Perspectives’, this experiential work will be unveiled during the London Design Festival, 17th to 25th September, and will remain open to the public until January 2012.
Reflecting Wren’s desire that his buildings should incorporate scientific elements, ‘Perspectives’ uses the largest Swarovski lens ever manufactured to create a dramatic optical experience which depends on scientific subtlety, material simplicity and a complex combination of light, space and proportion to reflect an environment rich in history and beauty.
At the foot of Wren’s elegant spiralling Geometric Staircase a concave Swarovski crystal meniscus will sit on a much larger reflective hemisphere, with a spherical convex mirror suspended 23m above in the tower’s cupola. Together, these optical elements will create an extraordinary composite image of the view up through the tower for visitors gathered round the hemisphere at the base, allowing them, as Pawson says, “to see beyond the level of the naked eye” and gain a perspective never before seen of one of Britain’s most iconic buildings.
John Pawson explains: “St Paul’s is one of the most recognisable buildings in the country. Inevitably it’s the grand architectural moves which everyone knows – the west elevation, the nave and the dome. In collaboration with Swarovski, I have been given the chance to turn the focus on a less familiar element – the Geometric Staircase – which is a detail, but also a complete architectural moment in its own right. The cathedral is an immensely complex work of architecture and the temptation when you visit is to try to take in everything. This is about offering a spatial experience based around a single, sharply honed perspective. The form this experience takes is shaped by Wren’s own interest in creating scientific instruments out of buildings.”
For Swarovski, the collaboration marks a high point of its Crystal Palace project, an experimental design platform developed by Nadja Swarovski which allows world class designers to develop extraordinary work using the medium of crystal. In the past ten years, collaborations with the likes of Ron Arad, Zaha Hadid, Tom Dixon, Ross Lovegrove, Tord Boontje, Arik Levy and Yves Behar have resulted in a spectacular body of work which provides a snapshot of the most exciting and creative minds of the 21st century.
Nadja Swarovski, Member of the Executive Board, Swarovski, commented: “It has been an inspirational and rewarding experience to work with John Pawson on such an illuminating project. A true visionary like Wren, John continuously pushes the boundaries of traditional architecture. His new and innovative use of crystal within this modest but magical design reflects Swarovski Crystal Palace’s mission continually to evolve and to contribute to culture and design.”
The work is a fitting climax to a year of tercentennial celebrations for St Paul’s, which was declared complete by Parliament exactly 300 years ago. The Reverend Canon Mark Oakley, Treasurer of St Paul’s Cathedral, said: “John Pawson invites us in this installation to observe the Geometric Staircase of the cathedral with a deepened focus. Like the spiritual life itself, here we are invited to look within in order to see out with greater clarity and wonder. We are delighted that Swarovski and the London Design Festival bring this meditative meniscus into St Paul’s to enrich our understanding of Wren’s work and to alert us to the fact that transformations often occur when we become more visually literate.”
Now in its ninth year, the London Design Festival is established as the preeminent creative festival in the world. This year’s Festival will be the largest and most significant yet, with an expected 180 partners and almost 300 events celebrating the world’s creative capital and offering a range of projects across the city from St Paul’s Cathedral to the Victoria & Albert Museum.
Ben Evans, Director of the London Design Festival said: “The London Design Festival works in the greatest quality spaces London has to offer and you can’t get greater than St Paul’s Cathedral. The installation we have there by John Pawson complements and contrasts with the stunningly beautiful space that we’re using. It’s very special – unmissable from my point of view.”
Swarovski will also sponsor the fifth presentation of the London Design Medal Dinner, which will be held on Monday 19th September in the Crypt of St Paul’s. Previous winners of the medal include Zaha Hadid (2007), Marc Newson (2008), Sir Paul Smith (2009), and Thomas Heatherwick (2010).
Visiting hours during London Design Festival
Monday 19th September – Friday 23rd September, 10am- 6pm, visitors will be able to access ‘Perspectives’ through the Dean’s Door .This entrance is in the South Churchyard of St Paul’s Cathedral.
Visiting hours after the London Design Festival
Saturday 24th September – mid January 2012 (closed Sundays) regular guided access throughout the day will be available to visitors during sightseeing hours. Requests outside these hours by prior arrangement only.
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| Ribbons for Japan by John Pawson | John Pawson: Plain Space at the Design Museum | Dezeen podcast: John Pawson at the Design Museum |
British architect John Pawson has designed images of ribbons to show support for Japan that can be downloaded in exchange for a donation to disaster relief following the earthquake and tsunami earlier this month.
The digital picture can then be attached to emails and websites.
See all our stories about designers’ efforts to help Japan »
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| Help Japan Poster by Wieden + Kennedy | “Please help Japan” – Tokujin Yoshioka | Heart for Japan by Delphine Perrot |
Milan 2010: British architect John Pawson exhibited a pavilion made of stone in Milan last month. (more…)
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