18 Feet & Rising offices by Studio Octopi

A mysterious dark tunnel leads into the boardroom of these offices in London by architects Studio Octopi (+ slideshow).

18 Feet and Rising Offices by Studio Octopi

As the UK headquarters for advertising agency 18 Feet & Rising, the offices were designed with a utilitarian aesthetic that can easily be replaced in a few years as the company grows.

18 Feet and Rising Offices by Studio Octopi

Studio Octopi were asked to incorporate four qualities into the space; emergence, vortex, action and illusion. “Inspired by the client’s four words, the project took on a theatrical approach,” architect Chris Romer-Lee told Dezeen. “Surprise, anticipation, unease, fear and relief were all discussed in connection to the client’s journey from arriving in the agency to getting into the boardroom.”

18 Feet and Rising Offices by Studio Octopi

The architects divided the office into three zones – designated for working, socialising and pitching – and differentiated them using low plywood screens and woven flooring with different patterns.

18 Feet and Rising Offices by Studio Octopi

The dark-stained plywood tunnel is the largest installation in the space. With a tapered volume, it sticks out like a large funnel to announce the zone where client presentations take place.

18 Feet and Rising Offices by Studio Octopi

“The tunnel acts as a cleansing device. All preconceptions of the agency are wiped before entering the boardroom,” explained Romer-Lee.

18 Feet and Rising Offices by Studio Octopi

Outside the boardroom, the workspaces are arranged in a curved strip that stretches from the entrance to the far wall. The steel-framed desks were designed by Studio Octopi last year and each one integrates power sockets and a lamp.

18 Feet and Rising Offices by Studio Octopi

A kitchen and cafe area for staff is positioned at the centre of the curve, while informal areas for meetings or relaxing wrap around the perimeter as a series of window seats.

18 Feet and Rising Offices by Studio Octopi

Romer-Lee runs Studio Octopi alongside co-director James Lowe. They also recently completed a courtyard house in the south-west of England. See more design by Studio Octopi.

18 Feet and Rising Offices by Studio Octopi

Dezeen columnist Sam Jacob discussed offices designed for creative agencies in this week’s Opinion piece, saying that “offices designed as fun palaces are fundamentally sinister”. See more creative office interiors on Dezeen.

Photography is by Petr Krejčí.

Here’s a project description from Studio Octopi:


After designing 18 Feet & Rising’s work desks, Studio Octopi were commissioned to work on the fit-out of their new 5,300sqft offices in central London.

Appointment to completion of the fit-out was only a period of two months which was quicker than the time it took to design and build the 18 Feet & Rising work desks. To achieve this timeframe the client transferred full creative control to Studio Octopi. Only a brief four words were issued by the client; emergence, vortex, action and illusion.

CEO, Jonathan Trimble stated that all final approval decisions were granted to Studio Octopi. 18 Feet would collaborate as equal creative partner but not as client. It was agreed that the project would emerge on site.

18 Feet and Rising Offices by Studio Octopi

We identified three principle zones within the agency: work, socialise and pitch. Each zone was then supported by a secondary tier of: read, make and plan. The zones were defined by black stained plywood walls and woven vinyl flooring. These act as theatrical devices in function and appearance. As with theatre the design enhances the presence and immediacy of the experience.

The work desks were arranged within a cog form. On entering the agency, the end of the cog disappears out of view. It is difficult to perceive the space denoted as a work zone, there is an illusionary aspect to the design. Power and data was taken off the existing overhead supply and distributed to the desks throughout the low plywood walls. Break out spaces are scattered to the perimeter provide views across neighbouring buildings. To the inside of the cog, the kitchen opens onto a central café seating area. There is no reception; the café area fulfils this role.

18 Feet and Rising Offices by Studio Octopi

Above: floor plan – click for larger image

Joining the two units is a small opening. Views through the opening reveal the tunnel, the entrance to the boardroom. Approaching the entrance to the tunnel reveals more theatrics. The tunnel walls and sloping soffit are lined in ply however the supporting timber structure is visible on the other side. The tunnel reduces in height and width over its 7m length. The strong light at the end of the tunnel picks out the plywood grain and woven vinyl flooring. Within the boardroom the plywood stained walls form a backdrop for the imposing views of the Post Office Tower.

The client embraced the temporary appearance of utilitarian construction materials. As London’s fastest growing independent ad agency, it’s likely the design will be replaced within a few years. On this basis the fit-out is surprising, a little unnerving, and in places whimsical.

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Hawthbush extension by Mole Architects

UK firm Mole Architects extended a protected farmhouse in south-east England by adding an extension with a barrel-vaulted roof that references local agricultural buildings (+ slideshow).

Hawthbush by Mole Architects

Located in the High Weald area of the Sussex Downs, the Hawthbush extension replaced several earlier additions constructed in the 1970s.

Hawthbush by Mole Architects

The new structure was placed at an angle to the existing house and visually separated from it by a glass link to replicate the layout of traditional local farmsteads, according to recent research carried out using historical maps of the area.

Associating the design with this research allowed them to gain planning permission where previous proposals had failed. This apparent separation also helps to reduce the scale of the additional volume, giving prominence to the original house.

Hawthbush by Mole Architects

When briefing Mole Architects, one of their clients presented the designers with a pot instead of a room schedule, underlining their wish to gain “a beautifully finished object carefully made from ‘natural’ materials”.

Hawthbush by Mole Architects

A coated steel roof arches over courses of bricks reclaimed from a nearby farmhouse, reinterpreting the barrelled structural language of local agricultural buildings.

Hawthbush by Mole Architects

The concave ceiling that results from the unusually shaped roof is emphasised by internal horizontal cladding, directing attention towards a semi-circular window at the end of the master bedroom on the first floor.

Hawthbush by Mole Architects

Whilst the bedroom’s picture window frames the sunrise, the kitchen on the ground floor benefits from the skewed angle of the extension, which orientates the kitchen on the ground floor towards the south so it’s flooded with sunlight during the day. The kitchen can be opened up to the garden with timber-framed glass doors that concertina out onto the patio.

Hawthbush by Mole Architects

This ongoing project also includes spatial reorganisation of the interior of the old farmhouse as well as a sustainable development strategy that affects a broader collection of buildings in the farmyard.

Hawthbush by Mole Architects

Hawthbush farmhouse extension was shortlisted for AJ Small Projects award 2013, which was won by Laura Dewe Mathews for her Gingerbread House. The Forest Pond House folly by TDO was also nominated for this award.

Hawthbush by Mole Architects

Other projects by Mole Architects include a refurbishment of a 1960s bungalow in Cambridgeshire and a house set within the Suffolk dunes designed in collabouration with Jarmund/Vigsnæs Architects.

Hawthbush by Mole Architects

Photography is by David Butler.

Here’s some more information from Mole Architects:


In place of an existing 70’s extension, the clients required an extension that was sympathetic to the integrity of the original Grade II listed 17th century farmhouse, but which provided additional space and a spacious kitchen diner with lots of glazing providing views out. They weren’t keen on creating a ‘radical’ ultra-modern extension but did want to avoid a pastiche of the old. They wanted a modern space with ‘good flow,’ ideal for a growing family and a practical addition to a working farm.

They identified an appreciation for natural materials – wood cladding, glass, lead, copper and definitely wanted sustainability. When asked to produce a list of rooms Lisa (one of the clients) instead presented MOLE with a pot she had made, saying, “I don’t know what I mean by it, but there’s something about this pot that conveys what I feel about the extension.”

Hawthbush by Mole Architects

Above: site plan

Planning Constraints

The scheme is located in the within the Low Weald Area of Outstanding Natural Beauty, close the boundary of the High Wield. It won approval following a site history of refusals. The scheme was designed following research into the historic development of farmyards within the Weald – well documented/published by Forum Heritage Services for the Joint Advisory Committee of the High Weald AONB (JCA 122), based on 3500 farmstead sites analysed on historic maps.

Both High and Low Weald are characterised by high densities of isolated farmsteads, which comprise small scale groups of individual farmyard structures. These historic farmsteads are characterised by: ‘Loose Courtyards,’ ‘L-plans’ and ‘Dispursed Clusters.’.

Hawthbush by Mole Architects

Above: ground floor plan

JCA 122 notes that Dispersed Cluster is most prevalent in the High Weald, and the scheme adopts this formal pattern. The extension is designed to be redolent of an agricultural building adjacent to the farmhouse. This form decreases the extension’s apparent scale, allowing greater prominence to the farmhouse. Two meetings held at pre-application stage with planners from Wealden District Council, suggested that further thought/background was required on the location of the extension, and relationship to existing house.

These comments were considered and alternative locations tested in CAD model form and discussed at a further meeting, during which it was agreed that the logic of the original location was acceptable, and difficulties in the revised location (in terms of sunlight penetration and incorporation into the plan) made it less feasible.

Hawthbush by Mole Architects

Above: first floor plan

Materials & Methods of Construction

Attached while visually separated from the existing farmhouse, the extension provides a contemporary reinterpretation of local farmsteads. It is constructed from reclaimed brick from a nearby farmhouse, with a glulam timber frame barrel-vaulted roof structure covered in terne-coated steel.

Hawthbush by Mole Architects

Above: long section

A glass link provides access into the farmhouse while giving breathing space to the new extension. The ground floor of the extension contains a generous south-facing family kitchen and above, a master bedroom enjoys the vault. Alongside other alterations carried out by the client to the existing house, including a revised entry for a more accessible drop off, the extension helps make the original building function better as a family home. Ultimately, the overall plan, including the extension, makes use of the site, the sun, the revised entry, and organises the house better.

Hawthbush by Mole Architects

Above: short section

The clients project managed construction and the extension forms part of a broader ongoing sustainable development strategy organised across the larger collection of buildings that make up Hawthbush farmyard. While this strategy is not part of the project £220K budget, it is worth noting as it forms the framework within which the project sits.

Hawthbush by Mole Architects

Above: southern elevation

This strategy includes a 50KW woodchip boiler, 10KW array of solar PV, MHRV system and a borehole for house water. The Client ensured all hardcore was provided on site and all soil disposal dealt with on site. The solar PV and boiler fuelled by woodchip generated on-site and installed by the client as part of the larger strategy generate all electrical and heating requirements for the house and extension.

Hawthbush by Mole Architects

Above: northern elevation

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The Long Studio by Threefold Architects

London firm Threefold Architects designed this long gabled artists’ studio in Norfolk, UK, so that the owners could construct it themselves (+ slideshow).

The Long Studio by Threefold Architects

Bold southern light floods the studio through large sliding glass doors, opening out onto the artists’ garden, whilst colder northern light diffuses through a clerestory window on the northern elevation.

The Long Studio by Threefold Architects

This continuous linear window emphasises the boundary between land and sky, framing seasonally transforming fields against morphing clouds.

The Long Studio by Threefold Architects

As a reference to the local agricultural vernacular, Threefold Architects chose corrugated black cellulose sheeting to clad two of the exterior walls and the roof whilst sustainably-sourced timber protects the gable ends.

The Long Studio by Threefold Architects

The Long Studio’s “simple and honest” materials and form allow light and colour from the surrounding fields and garden to animate the dark exterior and bright interior.

The Long Studio by Threefold Architects

The simplicity of The Long Studio’s construction system allowed the artists to build their studio almost entirely by themselves, so the budget could remain modest and the practically-minded artists could directly influence their creative environment.

The Long Studio by Threefold Architects

Another benefit of using such a simple frame is the light, spacious internal volume it provides. This unexpected height contrasts with the exterior linearity of the project.

The Long Studio by Threefold Architects

Shortlisted for AJ’s Small Projects sustainability award, this self-build is operationally carbon neutral. The Long Studio achieves its zero carbon status with such features as sheep’s wool insulation, a rainwater harvesting system and photovoltaic cells located on the garden-facing roof which annually feed over 1000KWh back into the National Grid.

The Long Studio by Threefold Architects

We recently featured the winner of the AJ Small Projects Awards 2013, Laura Dewe Mathews’ Gingerbread House.

The Long Studio by Threefold Architects

Apprentice Store is another project by Threefold Architects that retains exposed wooden beams and trusses.

The Long Studio by Threefold Architects

Photography is by Charles Hosea.

The Long Studio by Threefold Architects

Above: axonometric diagram 

The Long Studio by Threefold Architects

Above: short section

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Zaha Hadid appointed to develop plans for new London airport

Zaha Hadid airport

News: Zaha Hadid Architects has been appointed by the Mayor of London to help develop plans for a major new airport in the southeast of England.

Hadid’s firm will work alongside UK-based engineers Atkins and Pascall+Watson, the architects who designed Terminal 5 at Heathrow airport, to prepare a submission to the UK government about the future of aviation around the capital.

“This work is essential to deliver the most integrated transport solutions for London and the UK,” said Hadid. “It will enable London to maintain its position as one of the world’s most important economic, commercial and cultural centres, outlining the city’s future growth and development, which has always been founded on global connectivity.”

The Mayor of London, Boris Johnson, said: “It is absolutely imperative that work to progress a new hub airport in the southeast is completed as soon as possible. The government has set a timetable that dawdles, when dash should be the order of the day.

“That is why I have assembled a mighty team of experts who I have tasked with delivering a fulsome examination of the most realistic solutions to our aviation crisis in the shortest time possible, which I look forward to sharing with the government.”

In 2011, architect Norman Foster unveiled his own proposals for an airport and transport hub on the Thames estuary, while last year architects Gensler proposed a floating airport connected by underwater tunnels for the same location – see all airports.

Earlier this week Hadid slammed the UK’s “misogynist” attitude towards women architects after a survey found nearly a third knew they were paid less than their male counterparts – see all news about Zaha Hadid.

Top image shows Hadid’s proposal for an extension to Zagreb Airport in Croatia.

Here’s the full press release:


Mayor announces world-class team to develop hub airport plans

The Mayor of London has appointed a world-class team of experts to help develop plans for a multi runway hub airport in the southeast.
Today (11 February) the Mayor will also give oral evidence to an aviation inquiry convened by the Parliamentary Transport Select Committee. Committee members are expected to ask him why developing a new hub airport is so important to London and to explain why further expansion of Heathrow is impossible.

Appointing a world-class team of experts has added further weight to the work being driven forward by the Mayor to address the nation’s aviation crisis. He has made it very clear that he wishes to see the speediest possible resolution to the debate on where to build a multi runway hub airport, so that the British economy is given the best chance to prosper in the face of huge competition from its global rivals
The Mayor has confirmed that the following organisations have all been engaged to help with work being prepared for submission to the Government.

They will provide expertise under the following themes:

Airport design & infrastructure

Atkins – one of the world’s leading design, engineering and project management consultancies. Projects they have worked on include the London 2012 Olympics, Bahrain World Trade Centre and the Dubai Metro. Atkins will also lead on consideration of surface access and environmental impacts.

Zaha Hadid Architects – Zaha Hadid was awarded the Pritzker Architecture Prize (considered to be the Nobel Prize of architecture) in 2004 and is internationally renowned for her theoretical and academic work. Time Magazine included her in their 2010 list of the 100 most influential people in the world. She has worked on globally celebrated projects such as the London 2012 Aquatics Centre and Guangzhou Opera House in China.

Pascall & Watson architects – Previous projects include Heathrow Terminal 5, Dublin Airport Terminal 2, Rome Fiumicino Airport Masterplan. They also designed St Pancras International Station.

Socio economic impacts

Ramboll – a leading international engineering and management consultancy with a track record of examining the economic impact of airports and other infrastructure from around the world, supporting key developments in European air traffic control, working on the new Thames Crossing and developing National Policy Statements.

Oxford Economics – a world leader in global forecasting and quantitative analysis for business and government with unrivalled experience of exploring the economic impact of the aviation sector and airports for clients including IATA, ATAG, BAA and Airbus and developing economic forecasts and scenarios for London.

York Aviation – a leading firm specialising in the assessment of the economic impacts of aviation and aviation demand planning.

Professor Peter Tyler – Peter is a Professor in urban and regional economics in the Department of Land Economy, University of Cambridge and Fellow at St. Catharine’s College. Peter has an extensive track record in undertaking research for the public and private sector and an established reputation in the field of urban and regional economics with a particular emphasis on the evaluation of policy. He has been a Project Director for over seventy major research projects for Government.

Commercial viability

Ernst and Young – a global leader in assurance, tax, transactions and advisory services.

Legal and regulatory

Ashurst – The leading global law firm, which specialises in advising corporates, financial institutions and governments. Their core businesses are in corporate, finance, energy, resources and infrastructure.

The Mayor of London, Boris Johnson, said: “It is absolutely imperative that work to progress a new hub airport in the southeast is completed as soon as possible. The Government has set a timetable that dawdles when dash should be the order of the day. That is why I have assembled a mighty team of experts who I have tasked with delivering a fulsome examination of the most realistic solutions to our aviation crisis in the shortest time possible, which I look forward to sharing with the Government.”

Zaha Hadid said: “This work is essential to deliver the most integrated transport solutions for London and the UK. It will enable London to maintain its position as one of the world’s most important economic, commercial and cultural centres; outlining the city’s future growth and development which has always been founded on global connectivity.”

Mike Pearson, UK director of airports, Atkins said: “This project is not purely about the creation of a new hub airport, it’s about forming the foundations for London’s future development and reaffirming the UK’s position as a key international centre. It will fundamentally shift the debate on UK aviation once and for all, providing both a convincing and compelling case for how international air connectivity is critical to underpinning the UK economy, as well as driving wider regeneration.”

Around 15 different proposals for a new hub airport in the southeast have already been made public. The Mayor has consulted on criteria that will be used to evaluate each of those proposals and to form a shortlist of options. That shortlist is expected to be announced within weeks and the team now assembled by the Mayor will combine their expertise to produce detailed feasibility studies of the shortlisted options that the Mayor will submit to the Davies Commission.

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Lullaby Factory by Studio Weave

Hackney-based Studio Weave has constructed a network of listening pipes in a back courtyard of London’s Great Ormond Street Hospital to create a secret factory of lullabies for children (+ slideshow).

Lullaby Factory by Studio Weave

The enclosed space was created by the construction of a new building at the historic children’s hospital and will remain until its neighbour is eventually demolished. Studio Weave designed the installation to occupy the space in the interim and has named it the Lullaby Factory.

Lullaby Factory by Studio Weave

The architects were inspired by the messy pipes and drainage systems that already cover the surface of the brick walls. Instead of covering them up, they chose to add to them with a wide-spanning framework of pipes and horns.

Lullaby Factory by Studio Weave

“We have designed a fantasy landscape reaching 10 storeys in height and 32 metres in length, which can engage the imagination of everyone, from patients and parents to hospital staff, by providing an interesting and curious world to peer out onto,” explain architects Je Ahn and Maria Smith.

Lullaby Factory by Studio Weave

Different types of metal create pipes of silver, gold and bronze, and some of the taps and gauges were recycled from a decommissioned hospital boilerhouse.

Lullaby Factory by Studio Weave

Sound artist Jessica Curry composed the soundtrack of lullabies, which are played out through each of the pipes. To listen in, patients and staff can place an ear over one of the listening pipes beside the canteen.

Lullaby Factory by Studio Weave

The music is also transmitted via a radio frequency, so patients on the wards can tune in too.

Lullaby Factory by Studio Weave

Studio Weave previously designed a set of pipes to amplify the sounds of the countryside. Other projects by the architects include a latticed timber hut on stilts and a 324-metre-long bench.

Lullaby Factory by Studio Weave

See more architecture by Studio Weave, including an interview we filmed with the architects at our Designed in Hackney day.

Lullaby Factory by Studio Weave

Here’s a project description from Studio Weave:


Lullaby Factory, Great Ormond Street Hospital for Children
Studio Weave with Structure Workshop, AB3 Workshops and Jessica Curry

Studio Weave has transformed an awkward exterior space landlocked by buildings into the Lullaby Factory – a secret world that cannot be seen except from inside the hospital and cannot be heard by the naked ear, only by tuning in to its radio frequency or from a few special listening pipes.

Lullaby Factory by Studio Weave

The multi-phased redevelopment of Great Ormond Street Hospital, in London’s Bloomsbury area, means that the recently completed Morgan Stanley Clinical Building and the 1930s Southwood Building currently sit very close together. The latter is due to be demolished in 15 years, but in the intervening period large windows in the west elevation of the MSCB look directly onto a pipe-ridden brickwork facade, with the gap between the two less than one metre in places.

Lullaby Factory by Studio Weave

In our competition entry we proposed that the Southwood Building, with its oodles of mysterious pipes and plant is not really the Southwood Building, but the Lullaby Factory, manufacturing and releasing gentle, beautiful lullabies to create a calming and uplifting environment for the young patients to recover in.

Lullaby Factory by Studio Weave

Our aim for this project was to re-imagine the Southwood façade as the best version of itself, accepting and celebrating its qualities and oddities; and rather than hiding what is difficult, creating something unique and site specific.

Lullaby Factory by Studio Weave

We have designed a fantasy landscape reaching 10 storeys in height and 32 metres in length, which can engage the imagination of everyone, from patients and parents to hospital staff, by providing an interesting and curious world to peer out onto. Aesthetically the Lullaby Factory is a mix of an exciting and romantic vision of industry, and the highly crafted beauty and complexity of musical instruments.

Lullaby Factory by Studio Weave

The Lullaby Factory consists of two complimentary elements: the physical factory that appears to carry out the processes of making lullabies and the soundscape. Composer and sound artist Jessica Curry has composed a brand new lullaby especially for the project, which children can engage with through listening pipes next to the canteen or from the wards by tuning into a special radio station.

Lullaby Factory by Studio Weave

Our design is mindful of the fact that the space between the two buildings is very tight and any attempt to tidy it up too much would have resulted in significantly reducing the sense of space and the amount of daylight reaching inside the surrounding buildings.

Lullaby Factory by Studio Weave

Above: concept sketch

We hope the project will inspire engagement in a variety of ways from children’s paintings to a resource for play specialists to a generator for future commissions.

Our design incorporates old tap and gauges reclaimed from a hospital boilerhouse that was in the process of being decommissioned.

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Allowing greenfield development would “wreck” London – Richard Rogers

Richard Rogers, photo by Andrew Zuckermann

News: relaxing planning restrictions on the green belt would destroy London’s vitality “even more surely than it would despoil the countryside,” architect Richard Rogers has warned.

“I do not say this as a rural nimby, though I treasure England’s natural landscape, but as a defender of cities,” writes Rogers in the London’s Evening Standard newspaper, arguing that the city’s mix of jobs, shops, restaurants, parks and nightlife acts as “a magnet to people from across the globe.”

“Letting the city sprawl would undermine this mix and intensity, reversing the rebirth of city-centre living,” he warns, saying suburban sprawl not only leads to “social atomisation” but becomes “environmentally disastrous” as car journeys displace public transport.

To solve the UK’s housing crisis, architects, planners and developers “need to show ingenuity” by redeveloping thousands of hectares of brownfield land as well as empty offices and houses across the country – but simply converting buildings is not enough, he argues.

“It will not create homes or communities unless intelligent urban design and planning also create the schools, shops and public transport hubs civilised life demands.

“And why should we rush to convert office blocks when we already have three-quarters of a million homes in England lying empty, and sites with planning permission for 400,000 more?”

According to homeless charity Shelter, the government’s plan to build 150,000 “affordable” homes – priced below market rates – over four years will provide less than a third of what is needed, with over 1.7 million households currently on local authority housing waiting lists.

UK planning minister Nick Boles recently called for an area of countryside twice the size of Greater London to be built on in order to solve the growing housing crisis.

In the US, New York mayor Michael Bloomberg last year announced plans for “micro-unit” apartments to help solve the shortage of small homes in Manhattan, while San Francisco city chiefs have voted to allow the development of apartments as small as 20 square metres.

Rogers’ firm recently completed a set of six-sided apartment blocks beside the Tate Modern art gallery in central London – see all projects by Rogers Stirk Harbour + Partners.

Photograph by Andrew Zuckerman.

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Black Maria by Richard Wentworth and GRUPPE

British artist Richard Wentworth has collaborated with Swiss architects GRUPPE to build a pop-up wooden auditorium in the atrium of Central Saint Martins art and design college in London (+ slideshow).

Black Maria by Richard Wentworth and GRUPPE

The structure is named Black Maria, after Thomas Edison’s first movie production studio. Built entirely from wood, it was also inspired by both the timber scaffolds historically used in the industrial areas of King’s Cross and the building-site hoardings that surround much of the area today.

Black Maria by Richard Wentworth and GRUPPE

A tiered seating area is positioned at the front of the installation and is framed behind a wooden screen, creating what the designers refer to as an “inhabitable billboard”.

Black Maria by Richard Wentworth and GRUPPE

Large audiences can surround the structure during open presentations or talks, while more intimate performances can be accommodated by placing screens over the facade and closing off the space from its surroundings.

Black Maria by Richard Wentworth and GRUPPE

Two extra entrances are located on the back of the structure. One goes in at ground level, while the other features a grand staircase that leads into the top of the auditorium through an enclosed foyer.

Black Maria by Richard Wentworth and GRUPPE

Both GRUPPE and Richard Wentworth emphasise that the installation is also an informal meeeting area, where students can spend time during breaks.

Black Maria by Richard Wentworth and GRUPPE

Wentworth explained: “You have to magnetise some venues more than others so that people who feel that they are there ‘by accident’ are mixed with people who have a clear ‘sense of purpose’. This is an obvious condition of metropolitan space.”

Black Maria by Richard Wentworth and GRUPPE

Black Maria was installed in the Granary Building of Central Saint Martins this week and will remain in place until 12 March. The school was designed by architects Stanton Williams and is only in its second year of use.

Black Maria by Richard Wentworth and GRUPPE

Other recently completed timber installations include a cabin filled with coloured light and smoke and a wooden chamber installed at the Venice Architecture Biennale. See more installations on Dezeen.

Black Maria by Richard Wentworth and GRUPPE

Here’s a project description from the design team:


Black Maria by Richard Wentworth and GRUPPE

Black Maria, by Richard Wentworth and Swiss architecture practice GRUPPE, is part of RELAY, a nine-year arts programme that is enlivening the new public spaces at King’s Cross and turning the area into a destination for discovering international contemporary art that a celebrate the area’s heritage and its future. The second commission in the King’s Cross series, Black Maria, is a structure that acts as a place of meeting, based around discussion, performance and moving images.

Launching on 12 February 2013 for an initial 28 days, with the potential to be brought back at a later date, the Black Maria comprises a collection of spatial elements of varying sizes that recall an early film studio of the same name. The structure will be installed in The Crossing, in the Granary Building, the new home of Central Saint Martins College of Art and Design. The Crossing brings together several departments of the art school, new commercial tenants at the development, a restaurant and the public, which Wentworth and GRUPPE see as the ideal conditions to create a place of exchange.

The emphasis is on flexibility and happenstance, both in terms of the construction’s physicality and in the programming being arranged around it. Black Maria sits at one end of The Crossing, facing the larger part of the hall as a kind of inhabitable billboard with a staircase auditorium behind it. The talks happen “within” the billboard, allowing for different kinds of audience on either side of it: a more intimate audience within the structure; and another potentially much larger audience outside the structure. The billboard makes use of a large door to allow events to be either closed and private, or open to the hall and public. Black Maria recalls the vital but forgotten timber scaffolds used to build King’s Cross’ industrial past, and building site hoardings used today. In a related sense the Black Maria is a support structure for the community activities in the hall today.

Richard, who has lived near King’s Cross since the 1970’s, has witnessed and chronicled the transformation of the area through projects such as ‘An Area of Outstanding Unnatural Beauty’, created for Artangel in 2002. Much like Black Maria, the Artangel work was an experiential one, encouraging visitors to walk into apparently unremarkable shops and alleyways around King’s Cross and see them from a fresh perspective. Black Maria has the potential to transform the somewhat neutral crossroads at the entrance to Central Saint Martins into a destination where people can attend scheduled talks and screenings, but also just find a place to sit, gather, eat lunch and chat.

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Interview: Us: We speak with the directing duo Us on using 3D motion capture rendering in the Foals’ video for “My Number”

Interview: Us

by Sabine Zetteler Christoper Barrett and Luke Taylor, more commonly known as Us, are the powerhouse directorial duo behind the latest music video for Foals, released this week by Warner Bros UK. Far from newcomers to video direction—Us directed an award-winning video for Thom Yorke while still attending Kingston University—the…

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Cambridge Cat Clinic by Gort Scott

Hackney studio Gort Scott subtly added the outline of a cat’s ears to the facade of this feline veterinary clinic outside Cambridge (+ slideshow).

cat clinic by gort scott

The architects wanted to create references to cats in the design, but agreed with the client that these details would be subtle. “After years of designing with human situations in mind, it was quite interesting also designing with cats in mind,” Jay Gort told Dezeen.

cat clinic by gort scott

The building occupies a former joinery shed in the village of Fulbourn. Gort Scott covered the original facade with cedar slats and picked out the shape of the cat’s ears using wider sections.

cat clinic by gort scott

“The screen was considered the most elegant and cost effective way of giving the building a more welcoming, joyful appearance in a context of fairly run-down sheds,” said Gort.

cat clinic by gort scott

The building’s interior is reorganised, creating a large reception and waiting area at the front of the clinic. The reception desk is built from plywood and features ornate feet shaped like cat’s paws.

cat clinic by gort scott

Beyond the reception are a series of consulting rooms, an operating theatre and a diagnostic laboratory, plus a large preparation room lit from above by skylights.

cat clinic by gort scott

Interior walls are painted in calming shades of turquoise, with occasional details picked out in yellow.

cat clinic by gort scott

Gort Scott is led by architects Jay Gort and Fiona Scott, whose past projects include a rugged stone house on the Isle of Man. Jay Gort also spoke at Dezeen’s Designed in Hackney Day last year, where he argued that the beleaguered British high street is actually a thriving location of “collision and conflict”.

cat clinic by gort scott

Another veterinary clinic completed recently is a combined surgery and home in Japan.

cat clinic by gort scott

Photography is by Angus Leadley Brown.

cat clinic by gort scott

Here’s some more information from Gort Scott:


Cambridge Cat Clinic

The site for this new, cat-specialist veterinary practice was originally a joinery workshop, opposite an open field at the edge of Cambridge. Our client was a veterinarian establishing a new business.

cat clinic by gort scott

Gort Scott obtained planning permission for change of use and remodelling of the existing building to also include a new cedar wood screen on the front elevation, with a suggestion of cats ears. Beyond this screen is a generous reception and waiting area with specially-designed furniture, and views back to the open field.

cat clinic by gort scott

The main working area for the medical staff is a large multi-functioning ‘prep room’, which is top-lit by two generous skylights.

cat clinic by gort scott

The scheme’s design includes many aspects that respond to the client’s considered approach to the welfare of her animal patients and their owners.

The building serves both as a general practice specialising in feline medicine, and also as a surgery, with a full operating theatre, lab and diagnostic area.

cat clinic by gort scott

Above: site plan – click for larger image

Name of project: Cambridge Cat Clinic
Date of completion: 01/ 06/ 2012
Total contract value; £156,000

Credits list
Client: Cambridge Cat Clinic
Start on site date: 05/11/2011
Gross internal floor area: 224m2

cat clinic by gort scott

Above: floor plan – click for larger image

Form of contract and/or procurement : JCT Minor Works contract
Structural engineer: Charles Tallack Engineering consultancy
Planning supervisor: AFP Construction consultants
Total cost : £156,000
Main contractor: Bob Black Construction Ltd.

Selected subcontractors and suppliers:
Windows: Velfac
Flooring: Forbo
Internal partitions: Rodecca
Joinery: Precision Joinery

cat clinic by gort scott

Above: front elevation – click for larger image

The post Cambridge Cat Clinic
by Gort Scott
appeared first on Dezeen.

Light Touch installation by Haptic

Visitors to an exhibition of work by architects Haptic can take a rest inside a wooden cabin filled with coloured light and smoke (+ movie).

Light Touch by Haptic

As the centrepiece to the Working the Land exhibition, the Light Touch installation combines an illuminated walkway with a secluded seating area and was designed to demonstrate the craftsmanship that is key to Haptic‘s architectural practice.

Light Touch by Haptic

A kinetic mechanism is attached to the top of the structure, lifting a chain of lights up and down in a wave-like motion. One side of these lights shines onto a wall of images in the corridor, while the other projects shades of pink, purple and blue through the slatted facade of the cabin.

Light Touch by Haptic

Visitors sitting inside the cabin can make themselves comfortable amongst a collection of reindeer skins. Smoke is emitted from openings at their feet, clouding the light as it gradually filters in.

Light Touch by Haptic

Haptic worked with artist Ruairi Glynn on the complex assembly of the installation, which involved piecing together CNC-milled slats of black MDF then ensuring the mechanism fitted exactly.

Light Touch by Haptic

“The precise nature of the installation, with every two intersecting pieces having multiple finger joints held together by friction, took a large team effort working to very fine tolerances,” Haptic director Nikki Butenschøn told Dezeen. “It took three grown men with an artillery of mallets to pound the damn slats into submission.”

Light Touch by Haptic

The architects compare the effect to the “dramatic lighting conditions found in the Norwegian landscapes”, a reference to the nationality of many of the Haptic team.

Light Touch by Haptic

Working the Land is on show at the London office of consulting engineers Buro Happold until 15 March.

Light Touch by Haptic

Tomas Stokke, Scott Grady and Timo Haedrich launched London firm Haptic Architects in 2009. They have since opened a second studio in Oslo, headed up by Nikki Butenschøn. Recent projects include a forest-like hotel lounge and a Norwegian hunting lodge.

Light Touch by Haptic

Photography and movie by Simon Kennedy.

Light Touch by Haptic

Here’s a description of the exhibition from Haptic Architects:


Working the Land – an exhibition by Haptic Architects

Working the Land presents the recent work of Haptic and provides an insight into the practice’s ethos, to work carefully and strategically with the site context, whilst focusing on materiality and craftsmanship.

Light Touch by Haptic

Haptic is a London and Oslo based architectural studio, established in 2009. Our designs are conceptually driven, inspired by nature and formed through a critical, iterative design process. A strong emphasis is given to user experience; how one interacts with the buildings and spaces. The term “Haptic” refers to the sense of touch. We believe a shift from the optical to the haptical is a move that benefits the users of our buildings.

Light Touch by Haptic

Haptic are currently working on a wide range of building typologies. These include airports, hotel and conferencing facilities, urban design and mixed-use residential, exhibition spaces and private dwellings. Presented here is cross-section of projects, at early stages to completed works.

Light Touch by Haptic

The installation “Light Touch” takes its inspiration from the dramatic natural lighting conditions found in the Norwegian landscapes. The slatted timber box draws from vernacular architecture and the way in which the low-lying sunlight filters through the forests, whilst providing a tranquil breakout space for Buro Happold and visitors.

Light Touch by Haptic

Graphic Design: BOB
Kinetic Design: Ruairi Glynn & Chryssa Varna
Lighting Design: Concept Design

The post Light Touch installation
by Haptic
appeared first on Dezeen.