New Court, Rothschild Bank headquarters by OMA with Allies and Morrison

The OMA-designed headquarters for the Rothschild Bank in London is one of the six buildings shortlisted for the 2012 Stirling Prize (+ slideshow).

Rothschild Bank by OMA with Allies and Morrison

Completed at the end of 2011, the steel and glass building features ten floors of open-plan offices, a rooftop garden and a glazed “sky pavilion” containing a stack of three double-height events rooms.

Rothschild Bank by OMA with Allies and Morrison

Above: photograph is by Charlie Koolhaas

This glazed cube is raised up above the roof and it towers above surrounding buildings that include the James Stirling-designed Number One Poultry and the St. Stephen Walbrook church by Christopher Wren.

Rothschild Bank by OMA with Allies and Morrison

Above: photograph is by Charlie Koolhaas

At ground level the facade is recessed, increasing the width of the pavement along St Swithin’s Lane, and is split into two halves that frame a view through to the church and graveyard behind.

Rothschild Bank by OMA with Allies and Morrison

Three smaller annex blocks adjoin the main building, providing meeting rooms, staircases and lifts, plus a staff cafe and gym.

Rothschild Bank by OMA with Allies and Morrison

This is the fourth headquarters building that the Rothschild family have occupied on the site since 1809 and it was delivered in collaboration with UK architects Allies and Morrison.

Rothschild Bank by OMA with Allies and Morrison

OMA have also been nominated for the Stirling Prize with their Maggie’s Centre, Gartnavel in Glasgow. See all the nominations here »

Rothschild Bank by OMA with Allies and Morrison

See more projects by OMA, including a series of interviews we filmed with Rem Koolhaas »

Rothschild Bank by OMA with Allies and Morrison

Photography is by Philippe Ruault, apart from where otherwise stated.

Rothschild Bank by OMA with Allies and Morrison

Above: photograph is by Charlie Koolhaas

Here’s some more text from OMA:


Rothschild Headquarters, New Court, London, UK

Rothschild has been located at New Court since N.M. Rothschild established residence there in 1809. New Court is situated on the architecturally rich site of St. Swithin’s Lane, a narrow medieval alley in the heart of the City of London, and is adjacent to Christopher Wren’s historically significant St. Stephen Walbrook church.

The new New Court is the fourth iteration of Rothschild’s London headquarters on the site, each increasingly isolating the church of St. Stephen Walbrook. What began as a dialogue between two open spaces in the city – a courtyard and a churchyard – has, through three centuries of transformation, been reduced to an accidental proximity.

Rothschild Bank by OMA with Allies and Morrison

OMA’s design of New Court, lead by Partners-in-charge Ellen van Loon and Rem Koolhaas, reinstates a visual connection between St. Swithin’s Lane and St. Stephen Walbrook. Instead of competing as accidental neighbours, the church and New Court now form a twinned urban ensemble, an affinity reinforced by the proportional similarity of their towers.

New Court is comprised of a simple extrusion transformed through a series of volumetric permutations into a hybrid of cube and annexes: a ‘cube’ of open office space and appendices of shared spaces and private work areas.

Rothschild Bank by OMA with Allies and Morrison

The central cube of the building consists of ten efficient and flexible open-plan office floors, which facilitate views over St. Stephen and the surrounding City. This cube is surrounded by four adjoining volumes – annexes – with support facilities to the Bank’s operations such as meeting rooms, vertical circulation, reception areas, and a staff cafe and gym. The fourth annexe, a Sky Pavilion, sits at the top of this central cube. The Sky Pavilion is an open space largely free of vertical elements. This affords a clear view of Wren’s most famous London Church, St. Paul’s Cathedral, and the rest of the City, and provides an appropriately unique space for high level functions.

Rothschild Bank by OMA with Allies and Morrison

Above: photograph is by Charlie Koolhaas

At street level, the entire cube is lifted to create generous pedestrian access to the tall glass lobby and a covered forecourt that opens a visual passage to St. Stephen Walbrook and its churchyard – creating a surprising moment of transparency in the otherwise constrained opacity of the medieval streetscape. Reconnected, the two establish a continuity that radically transforms St. Swithin’s Lane and the setting of the Church.

Rothschild Bank by OMA with Allies and Morrison

Project: Rothschild’s London Headquarters
Status: Competition 2005, Completed November 2011
Client: Rothschild
Location: St Swithin’s Lane, City of London
Budget: N/A
Site: New Court, enclosed in cluster of buildings, adjacent to the 17th century St. Stephen Walbrook church; with main entrance on the narrow St. Swithin’s Lane
Program: Office headquarters: 21,000m2 (GFA)

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The Weather Yesterday

The Weather Yesterday est une installation réussie du studio Troika. Cette création permet en effet de montrer la température et la météo précise du jour précédent. Située dans le Hoxton Square jusqu’au 9 septembre, l’objet composé de LED est une commande de RIBA pour le London Festival of Architecture.

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Butterfly Loft Apartment by Tigg Coll Architects

The staircase in this west London house by Tigg Coll Architects has a glass balustrade and open treads to allow light to flood through from above (+ slideshow).

Butterfly Loft Apartment by Tigg Coll Architects

The three-storey maisonette in Kensington was completely overhauled by the architects, with the original staircase, floors and internal partitions removed.

Butterfly Loft Apartment by Tigg Coll Architects

The oak treads of the new staircase cantilever off an exposed brick wall.

Butterfly Loft Apartment by Tigg Coll Architects

A skylight is fitted above the stairwell in the sloping roof.

Butterfly Loft Apartment by Tigg Coll Architects

A double-sided wine rack is built into the wall between the kitchen and staircase.

Butterfly Loft Apartment by Tigg Coll Architects

We recently featured another London townhouse with a striking staircase – see it here.

Butterfly Loft Apartment by Tigg Coll Architects

See all our stories about staircases »

Butterfly Loft Apartment by Tigg Coll Architects

Photographs are by Andy Matthews.

Butterfly Loft Apartment by Tigg Coll Architects

Here’s some more information from Tigg Coll Architects:


Designed for a young client who wanted to convert his standard maisonette in Kensington, London, into a contemporary loft apartment for entertaining.

Butterfly Loft Apartment by Tigg Coll Architects

All the internal partitions, floors and existing staircase of this triplex apartment were removed, presenting a blank canvas of the existing structure.

Butterfly Loft Apartment by Tigg Coll Architects

The new staircase is cantilevered off an exposed brick clad wall imported from Denmark and runs the full height of the house, concealing the structural steelwork behind.

Butterfly Loft Apartment by Tigg Coll Architects

The oak-clad open treads and cantilevered glass balustrade allow light to flood down from the rooflight high above, as well as allowing light to filter through from both the front and rear windows.

Butterfly Loft Apartment by Tigg Coll Architects

The previously small living spaces are now open-plan with the kitchen at the heart, between the reception and mezzanine dining area.

Butterfly Loft Apartment by Tigg Coll Architects

The purposefully designed double-sided wine rack and openings in the staircase allow a separation of space yet also a connection, with glimpses through to the spaces beyond and above.

Butterfly Loft Apartment by Tigg Coll Architects

On the upper floor, the existing double butterfly roof was exposed and new ceilings installed to follow these lines, allowing ceiling heights throughout to be maximised and sculptural.

Butterfly Loft Apartment by Tigg Coll Architects

The new rooflight nestles in the roof pitch of the resultant space over the staircase.

Butterfly Loft Apartment by Tigg Coll Architects

Contract value: Approx £450,000
GIA: Approx. 1500 sqft

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The White Building by David Kohn Architects

London studio David Kohn Architects has created an arts venue in a former sweet factory on the edge of the Olympic park.

The White Building by David Kohn Architects

The White Building is situated amongst a community of artists on Fish Island in Hackney Wick and accommodates a gallery, an events space, a cafe and a series of artists’ studios.

The White Building by David Kohn Architects

Lambswool hangs in nets to cover the underside of an existing asbestos roof that is supported by red steel trusses.

The White Building by David Kohn Architects

Five new entrances lead into the building, allowing the different rooms to be used in flexible configurations.

The White Building by David Kohn Architects

The project is one of a number of “Olympic Fringe” projects instigated by Design for London for sites bordering the Olympic park. Others include public realm improvements by architects Muf and the London Pleasure Gardens.

The White Building by David Kohn Architects

See more stories about London 2012 »

The White Building by David Kohn Architects

Photography is by Will Pryce.

The White Building by David Kohn Architects

Here’s some more information from David Kohn Architects:


‘The White Building’ is a new cultural venue in Hackney Wick commissioned by the London Legacy Development Corporation.

Situated across the Lea Navigation Channel from the Olympic site, the project overlooks the Olympic stadium. The refurbished building, a former print works and previously a sweet factory, will house artists’ studios, a gallery, hire space, café and micro-brewery.

The White Building by David Kohn Architects

The project was won through invited competition by David Kohn Architects in collaboration with Michael Pawlyn of Exploration Architecture, specialists in environmentally sustainable design.

The White Building by David Kohn Architects

The competition was organised by Design for London, part of the Greater London Authority, as part of the ‘Olympic Fringe’ a string of small-scale projects aimed at stitching the Olympic Park into the surrounding city fabric.

The White Building by David Kohn Architects

Hackney Wick Fish Island, a former industrial area, is currently celebrated for being home to the highest concentration of artists studios in Europe.

The White Building by David Kohn Architects

The end user is Space Studios who contributed to the project brief to create a cultural venue in Hackney Wick that would serve the existing community as well as provide a public face to visitors. Space Studios is a charity that has been providing platforms for artists since 1968.

The White Building by David Kohn Architects

In response to the competition brief, David Kohn Architects proposed that the White Building would:

» be built by local people for local people;
» foreground the pleasures of making;
» resonate with the history of the area;
» work with the existing building fabric;
» demonstrate innovative sustainable design;
» be realised affordably and quickly;
» show a past and future London at the Olympics.

The White Building by David Kohn Architects

The eventual built project used local businesses extensively for supplying materials and skills from glazing to sign-painting, steelwork to joinery. The project was delivered on time and budget.

The White Building by David Kohn Architects

New interventions complimented the existing building fabric, such as blockwork walls on the ground floor that incorporated steel-framed windows. The ground floor was opened up to the canalside and Queen’s Yard to create a light-filled interior with the feel of an urban courtyard.

The White Building by David Kohn Architects

On the first floor, existing red-painted steel trusses supported an asbestos sheet roof with no insulation. In order to improve the environmental performance of the building and the appearance of the interiors without interfering with the asbestos, lambswool was suspended in red string nets to create soft vaults between the trusses.

The White Building by David Kohn Architects

Throughout, there was a design approach that sought to use conventional construction materials, but in a playful way. Material junctions were detailed in such a way as to give even the most industrial construction a lightness of touch.

The White Building by David Kohn Architects

Five new entrances were created that allow the building to be used in a variety of different configurations. The ground floor houses a café, pizzeria, microbrewery and group studio space. The first floor offers four artists’ studios, a gallery and hire space overlooking the Olympic stadium. External works included wide steps from street level down to the canalside.

The White Building by David Kohn Architects

Space Studios currently have a ten year lease on the property. The hope is that during that time, The White Building can become a significant local asset, well-used by the creative community and public alike. If it proves to be successful, then the project could become key to the retention of cultural activities in the area during future urban change and development.

The White Building by David Kohn Architects

Address: Unit 7 Queens Yard, White Post Lane London E9 5EN
Client: London Legacy Development Company
Tenant: Space Studios & Crate Café
Planning Department: LB Tower Hamlets
Project Period: December 2010 – July 2012
Construction Period: 12 weeks
Gross External Floor Area: 760m2
Gross Internal Floor Area: 695m2
Construction Value: £550k

Design Team
Architects: David Kohn Architects, Liz Betterton, Saya Hakamata, David Kohn, Tom McGlynn (Project Architect), Ulla Tervo
in collaboration with Michael Pawlyn, Exploration Architecture
Landscape: Muf architecture/ art
Structural Engineer: Alan Baxter Associates
Civils Engineer: Stockley
Services Engineer: Capita Symonds
Project Manager: Capita Symonds
CDM Co-ordinator: Capita Symonds
Cost Consultant: Sweett Group
Graphic Designer: Modern Activity

Contractors
Main Contractor: BRAC Contracts
Blockwork: Plasmor
Glazing: Caplin Glass
Sheep’s Wool: Black Mountain Insulation Ltd
Metal Windows: Monk Metal Windows
Steel Doors: Dove Steel Doors
Steel Sign: PJ Signs
Outdoor steps steelwork: Lemon Steel
Hand-Painted Signage: Ornamental Conifer and Mark Bayley

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London by Hand by Jenni Sparks at Dezeen Super Store

London landmarks from Brick Lane to Brixton feature on this hand-drawn poster by graphic designer Jenni Sparks, now available at Dezeen Super Store, 38 Monmouth Street, London WC2.

London by Hand by Jenni Spark

The poster includes pubs, parks and Tube lines as well as a few projects we’ve featured on Dezeen, such as Renzo Piano’s Shard and the restored Cutty Sark in Greenwich.

London by Hand by Jenni Spark

Dezeen readers can get 10% off any Dezeen Super Store purchase (excluding sale stock and Jambox) and enter our competition to win a designer watch worth £150 by downloading this flyer and presenting it at the shop.

London by Hand by Jenni Spark

Another London-themed poster available at Dezeen Super Store is Michael Robinson’s topical Summer in the City design.

London by Hand by Jenni Spark

Dezeen Super Store
38 Monmouth Street, London WC2
1 July – 30 September 2012

Monday to Saturday: 11am to 7pm
Sunday: 11am to 5pm

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Coca-Cola Beatbox by Asif Khan and Pernilla Ohrstedt

Here are some photographs of the recently completed Coca-Cola Beatbox, a pavilion in the London 2012 Olympic park that can be played like a musical instrument (+ slideshow).

Coca-Cola Beatbox by Pernilla & Asif

Designed by London architects Asif Khan and Pernilla Ohrstedt, the Coca-Cola Beatbox invites visitors to make a musical collage of sporting sounds by touching parts of its structure.

Coca-Cola Beatbox by Pernilla & Asif

The sound samples, including a human heartbeat and trainers squeaking on a court, are taken from the Olympic song ‘Anywhere in the World’ recorded by British producer Mark Ronson.

Coca-Cola Beatbox by Pernilla & Asif

The sounds are embedded in 200 interlocking ETFE plastic pillows which are sensitive to movement and touch.

Coca-Cola Beatbox by Pernilla & Asif

The pavilion opens to the public on 27 July.

Coca-Cola Beatbox by Pernilla & Asif

We first published images of the project proposal back in March.

Coca-Cola Beatbox by Pernilla & Asif

See all our stories about the London 2012 Olympics »

Coca-Cola Beatbox by Pernilla & Asif

Above: photograph is by Getty Images

Photography is by Hufton + Crow, except where indicated.

Coca-Cola Beatbox by Pernilla & Asif

Here’s some more information from the event organisers:


Coca-Cola reveals spectacular Olympic Park pavilion that will inspire visitors to Move to the Beat of London 2012

Coca-Cola has today unveiled the Coca-Cola Beatbox, its iconic pavilion for the Olympic Park, at a private view event ahead of the official opening of the London 2012 Olympic and Paralympic Games next Friday 27th July.

The Coca-Cola Beatbox, designed by Asif Khan and Pernilla Ohrstedt, is an experimental fusion of architecture, sport, music and technology that creates a stunning multi-sensory experience. The visionary pavilion has been inspired by Coca-Cola’s global campaign for London 2012 – Move to the BeatTM – that aims to connect young people to the Games by bringing together their passions for music and sport.

Its giant crystalline structure is made up of over 200 interlocked translucent air cushions, each the size of a billboard. Visitors will be able to ‘play’ designated cushions as they ascend the exterior of the pavilion, remixing ‘Anywhere in the World’, the uplifting track featuring sounds of five different Olympic sports created for Coca-Cola by GRAMMY award winning producer Mark Ronson and 2011 Mercury Music Prize nominee Katy B.

Integrated within the 200 cushions is groundbreaking audio, lighting and responsive sensor technology, which has been used by the architects to upload the rhythmical sport sounds into the structure of the Coca-Cola Beatbox. Recordings, which include athletes’ heartbeats, shoes squeaking, and arrows hitting a target will be triggered and remixed by the gestures and movements of an estimated 200,000 visitors during Games time as they make the 200m journey to the pavilion’s rooftop.

The pavilion forms part of Coca-Cola’s Future Flames campaign for London 2012, which aims to recognise and reward the best of the nation’s youth and shine a spotlight on emerging talent to inspire other young people to pursue their passions. Coca-Cola appointed London-based designers Asif Khan and Pernilla Ohrstedt following a formal commissioning process administered by the Architecture Foundation. The company wanted to identify the best single emerging talent in British architecture and reward them with a showcase at London 2012, handing over creative control of its pavilion.

Coca-Cola has spent two years working with other partners including the Royal College of Art and interactive theatre company London Quest to bring together the best in emerging talent across design, performance and technology who will all play a role in bringing the pavilion to life during the Games. The result is a pavilion that is created by, embodies and celebrates the passions of thousands of Coca-Cola Future Flames who make a positive contribution to their local communities every day.

Maxine Chapman, Director of Showcasing, London 2012 Olympic and Paralympic Project Team, the Coca-Cola Company, said:

“Coca-Cola’s sponsorship of London 2012 is rooted in celebrating and recognising young people and we’re delighted to give so many young talents the chance to showcase their skills and passions on the world’s stage. Our team of emerging architects, artists, sound and light technicians – led by Asif Khan and Pernilla Ohrstedt – have all played a crucial role in creating a pavilion that is hip, fresh and energetic. The Coca-Cola Beatbox is unlike anything else on the Olympic Park. Over 300 young performers from London will help to bring it to life during Games time, and it will stand as a testament to the millions of young people who use their passions in areas like sport and physical activity, music and dance to spread happiness in communities all over the UK.”

Asif Khan and Pernilla Ohrstedt, said:

“The Coca-Cola Beatbox is our largest commission so far and we’re thrilled to have the opportunity to showcase our distinctive brand of architectural design at London 2012. We have created a structure that fuses architecture, music, sport and technology in a completely unique way. The beat will draw people in and allow them to personally experience sports through sound away from the main Games venues. Coca-Cola has really allowed us to push the boundaries and we’re looking forward to unveiling the pavilion to the world when London 2012 opens its doors next week.”

Visitors will enjoy spectacular views of the Olympic Park from the top of the Coca-Cola Beatbox. The ramp then plunges down into the heart of the pavilion which will feature an interactive light installation.

Within the Coca-Cola Beatbox pavilion visitors will discover Jason Bruges Studio’s Aerial Dynamics installation. A living, breathing light show that has been designed to emulate the energy released when a bottle of Coca-Cola is served and shared. 180 bespoke mechatronic ‘bubbles’ glow rhythmically in time with Mark Ronson’s track. Controlled with individual code, each bubble has eight polypropylene blades that fold in on themselves. Special sensors embedded in the three ‘cheers in celebration’ kiosks at the base of the Beatbox detect when Coca-Cola bottles are clinked together, triggering the blades and bubbles to glow with red and white LED lighting. These light patterns become increasingly intricate as the number of participants grow.

Jason Bruges, Creative Director, Jason Bruges Studio, based in Hackney, said:

“Our installation captures the celebratory aura that surrounds the Games and is itself a living, visual, dynamic performance. We worked closely with students Coca-Cola chose from the Royal College of Art who helped create the final design through a series of design workshops. A unique mix of architects, lighting designers, industrial designers, programmers and engineers have all collaborated to bring this extraordinary installation to life.”

The Coca-Cola Beatbox was brought to life at the private view event by young performers from across London boroughs. These talented young people from part of a group of 300 who have been selected to perform within the Olympic Park and London’s Hyde Park following six month audition process with the support of the interactive theatre company London Quest. Whether it’s re-enacting a medal winning performance or encourage visitors to recycle they will help to bring the magic of London 2012 to life in the Captial.

Tim Morgan, Director of London Quest, said:

“We at London Quest have thoroughly enjoyed the last year working in partnership with Coca-Cola. In awarding us a theatrical consultancy contract for their Olympic Games showcasing activity, Coca-Cola has given us a massive opportunity to promote our company to the world and it’s great to know that we have helped to give some very talented young performers a once in a lifetime opportunity to shine.”

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Office for Emu Films by Studio Swine

A pegboard wall with customised pockets provides flexible storage at this tiny Soho office by London designers Studio Swine.

Office for Emu Films by Studio Swine

Designed for production company Emu Films, the 10 square-metre office provides a workplace for up to four people.

Office for Emu Films by Studio Swine

Lamps and stationery hang from the pegboard wall alongside Studio Swine’s boxes and pouches, which were custom-made from colourful linoleum tiles.

Office for Emu Films by Studio Swine

Parquet mahogany flooring reclaimed from a local high school was used to create the floating desk underneath the pegboard wall.

Office for Emu Films by Studio Swine

Lichen-covered oak offcuts provide wall-mounted shelves, while a desk folds up from the wall alongside.

Office for Emu Films by Studio Swine

Studio Swine are Royal College of Art graduates Alexander Groves and Azusa Murakami. Other projects by the duo include a pair of spectacles made from human hair and a project to recycle plastic particles dumped in the ocean.

Office for Emu Films by Studio Swine

Photographs are by Studio Swine.

Office for Emu Films by Studio Swine

Here’s some more information from Studio Swine:


Studio Swine have completed an office interior for EMU films, a production company located in Soho, London. The space, which measures approximately 10 sq. m., is a work place for 2 – 4 people.

Office for Emu Films by Studio Swine

The office is tiled in marble and decorated in a palette of light grey and white punctuated with bright, highly patterned marmoleum tiles to create a utilitarian work space with pop elements.

Office for Emu Films by Studio Swine

The floating desk maximises the sense of openness whilst the pegboard and folding desks keep the space flexible to changing requirements.

Office for Emu Films by Studio Swine

The mahogany desk uses reclaimed parquet flooring from a local high school, and the shelves have been made from the radial offcuts of sustainably sourced Kentish Oak.

Office for Emu Films by Studio Swine

Marmoleum, which is made up of 97% natural materials, has been used throughout the office for cladding cabinets, box files and stitched to form hanging pouches for stationery.

Office for Emu Films by Studio Swine

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Bicycle Book

Après son interview pour Fubiz TV Issue 04, Ugo Gattoni (Ultra Copain), revient avec ce travail et cette fresque incroyable. Réalisée dans le cadre des JO 2012 à l’aide de rotrings et d’une loupe, il s’agit d’une frise illustrée de 5 mètres de long sur 41 cm de haut. Une création éditée chez Nobrow Press, à découvrir en vidéo.

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Canteen Covent Garden by Very Good & Proper

Hackney design studio Very Good & Proper used glossy tiles salvaged from the London Underground in the Covent Garden branch of restaurant chain Canteen (+ slideshow).

Canteen Covent Garden by Very Good & Proper

The studio have combined contemporary furniture with vintage details to create an interior that complements Canteen’s British menu.

Canteen Covent Garden by Very Good & Proper

Diners can choose to sit at an oak table or in a retro dining booth.

Canteen Covent Garden by Very Good & Proper

The bar area has a zinc counter top and reclaimed Victorian mosaic tiles cover the floor.

Canteen Covent Garden by Very Good & Proper

Very Good & Proper designed the bar stools and the brass wall hooks, as well as the brass and oak Canteen Utility Chair, which can be found in all Canteen restaurants. Dezeen featured the chair when it launched at London Design Festival in 2009.

Canteen Covent Garden by Very Good & Proper

The restaurant is located on the ground floor of the Lyceum Theatre near Covent Garden.

Canteen Covent Garden by Very Good & Proper

Photography is by Ed Reeve.

Canteen Covent Garden by Very Good & Proper

See all our stories about restaurants »

Here’s some more information from the designers:


Canteen is celebrated not only for its all day menu but also for its progressive approach to design. The restaurant group designs and produces its own furniture, through British design studio Very Good & Proper. The ‘Canteen Utility Chair’ is hugely popular, and is found in each Canteen restaurant, its design and style now instantly recognisable. However, the chair is not solely for Canteen or just restaurant use, it can now also be found in sought-after locations around the world – MoMA Sweden, BBC and Channel 4 creative meeting spaces, and the new Facebook headquarters in San Francisco. The chair is sold through leading international design retailers. The Canteen Utility Chair has been redefined for Canteen Covent Garden with brushed brass metalwork.

Canteen Covent Garden by Very Good & Proper

With the original façade of the building dating from the 1830s, Canteen’s contemporary design is juxtaposed with the ornate molding around the tall windows and front doors. The bar area is sleek and inviting with its zinc bar top, Very Good & Proper designed bar stools and chairs and reclaimed Victorian mosaic floor tiles.

A slope leads down to the large oak herringbone-floored dining room with booth seating lined against a tiled wall (original tiles used by London Underground); the ‘Covent Garden Chair’ in various colours sits at the round tables, while the brushed brass Canteen Utility Chair lines the long tables beneath the windows.

Canteen Covent Garden by Very Good & Proper

Canteen Covent Garden is designed by VG&P, currently exhibiting at Clerkenwell Design Week and nominated for Design Museum Design of the Year 2012.
Canteen Hook and Knob – Limited edition brass knob and fire engine red hook
Canteen Utility Chair – limited edition brass frame with oak seat
Covent Garden Club Chair – designed and named specifically for this restaurant
Croquet shelving (new product, available to order soon)

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The Tanks at Tate Modern by Herzog & de Meuron

Architects Herzog & de Meuron have uncovered three underground concrete tanks at the Tate Modern gallery in London to create new spaces for art and performance, which open this week (+ slideshow).

The Tanks at Tate Modern by Herzog & de Meuron

The huge industrial cylinders previously held oil that fuelled the turbines of the former power station, but have lain empty since the building was decommissioned in 1981 and later converted into a gallery.

The Tanks at Tate Modern by Herzog & de Meuron

The eastern tank reopens with an exhibition of light and movie projection by Korean artist Sung Hwan Kim, while the southern tank is hosting an ongoing programme of performance art and the western tank has been subdivided into dressing rooms and other ancillary spaces.

The Tanks at Tate Modern by Herzog & de Meuron

Glass doors lead visitors through from the turbine hall into the cylinders, where the raw concrete structure is left exposed.

The Tanks at Tate Modern by Herzog & de Meuron

The Tanks are the first phase in the construction of a new wing at the gallery, scheduled to complete in 2016 – see images in our earlier story.

The Tanks at Tate Modern by Herzog & de Meuron

Herzog & de Meuron also collaborated with Ai Weiwei on the design of the Serpentine Gallery, which is currently open in London’s Kensington Gardens. See images here or watch the tour we filmed with Jacques Herzog here.

The Tanks at Tate Modern by Herzog & de Meuron

See all our stories about Herzog & de Meuron »

The Tanks at Tate Modern by Herzog & de Meuron

Photography is by Tate Photography.

The Tanks at Tate Modern by Herzog & de Meuron

Here’s some more information about The Tanks:


New Tate Modern Tanks Open to the Public

A new commission by Korean artist Sung Hwan Kim was unveiled today in The Tanks at Tate Modern. This major new work is the first installation to be created especially in The Tanks, the world’s first museum galleries permanently dedicated to exhibiting live art, performance, installation and film works. In Kim’s work, visitors are plunged into a fantastical world of optical illusions that draws on a rich history of performance and film. The commission for the Maja Hoffmann/Luma Foundation Tank is supported by Sotheby’s and runs from 18 July to 28 October. The launch is part of the London 2012 Festival, the culmination of the Cultural Olympiad.

The Tanks are the first phase of the Tate Modern Project, which is being made possible by a number of significant donations from public funders and foundations including a £50m investment from the Government, £7m from the Greater London Authority, an important donation from the Blavatnik Family Foundation and generous gifts from The Deborah Loeb Brice Foundation and The Dr Mortimer and Theresa Sackler Foundation.

On the occasion of the opening of The Tanks, Tate has announced a group of major individual donations. These include gifts to support The Tanks, new galleries, learning spaces and other areas of the new building. The donors include a number of Tate’s current and former Trustees among them Lord Browne, Mala Gaonkar, Maja Hoffmann, Elisabeth Murdoch, Franck Petitgas and John Studzinski as well as other individual donors including Christina and John Chandris, James Chanos, Ago Demirdjian and Tiqui Atencio Demirdjian, George Economou, Lydia and Manfred Gorvy, Noam Gottesman, Catherine Lagrange, Pierre Lagrange, Allison and Howard W. Lutnick, Barrie and Emmanuel Roman and others who wish to remain anonymous.

The Tanks at Tate Modern by Herzog & de Meuron

The generosity of early donors to this phase, Maja Hoffmann and John Studzinski, is recognised through The Maja Hoffmann/Luma Foundation Tank and The Studzinski Galleries.

Tate Members have also supported the project and altogether over three quarters of the total capital costs of £215 million has been raised.

Art in Action, a fifteen-week festival celebrating performance, film and installation and the historical works that have shaped these art forms, will run in The Tanks until 28 October. The festival allows audiences to explore new developments in art practice and learning, see bold new work being developed by artists, and engage more deeply with the programme. The Tanks are raw, industrial spaces which provide an anchor and home for the live art and film programmes which have previously been presented in diverse spaces around Tate Modern.

A rolling series of projects will take place in the southern Tank addressing the history of performance, film and interdisciplinary work alongside new work. The renowned choreographer Anne Teresa De Keersmaeker has worked with visual artist Ann Veronica Janssens to adapt Fase: Four Movements to the Music of Steve Reich 1982 to be the first performance staged in The Tanks. Two recent acquisitions to Tate’s collection also go on display for the first time: Suzanne Lacy’s The Crystal Quilt 1985-87 and Lis Rhodes’ Light Music 1975. From the 16th to the 27th August The Tanks will also host Undercurrent, a programme specially created by and for young people involving sound, performance, film and the digital. In addition to three major symposia, Art in Action will include interventions and participatory events for visitors of all ages. The opening programme is supported by The Tanks Supporters Group.

The Tanks at Tate Modern by Herzog & de Meuron

Over 40 established and emerging artists from around the world are taking part in Art in Action, including Ei Arakawa (Japan), Jelili Atiku (Nigeria), Nina Beier (Denmark), Tania Bruguera (Cuba), Boris Charmatz (France), Keren Cytter (Israel), Tina Keane (UK), Anne Teresa De Keersmaeker (Belgium), Liu Ding (China), Jeff Keen (UK), Anthea Hamilton (UK), Sung Hwan Kim (Korea), Rabih Mroué (Lebanon), Eddie Peake (UK), Yvonne Rainer (US), Lis Rhodes (UK), Aura Satz (UK), Patrick Staff (UK), Aldo Tambellini (US), Kerry Tribe (US) and Haegue Yang (Korea).

The new development, by internationally celebrated architects Herzog & de Meuron, will create a spectacular new building adjoining Tate Modern to the south. This will be Britain’s most important new building for culture since the creation of the British Library in 1998. The new building will increase Tate Modern’s size by 60%, provide more space for contemporary art and enable Tate to explore new areas of visual culture involving photography, film, video and performance, enriching its current programme for a broader audience.

The first phase of the new development begins with the opening of Tate Modern’s spectacular Tanks dedicated to exhibiting live art, performance, installation and film works. These massive industrial chambers have lain unused since Bankside Power Station was decommissioned in 1981. They have now being transformed into some of the most exciting new spaces for art in the world.

The opening programme for The Tanks is curated by Catherine Wood, Curator of Contemporary Art and Performance, Kathy Noble, Curator of Interdisciplinary Projects and Stuart Comer, Curator of Film in collaboration with Learning colleagues including Marko Daniel, Convenor (Adult Programmes) and Mark Miller, Convenor (Young People’s Programmes).

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