Long staircase spans converted London apartment by PATALAB Architecture

London studio PATALAB Architecture made the most of the space inside this awkward-shaped residence in the north of the city by running a staircase along the entire rear wall and adding a door that folds around a corner (+ slideshow).

Long staircase spans converted London apartment by PATALAB Architecture

PATALAB Architecture inserted the two-storey apartment into the converted upper levels of a historic shop building in Hampstead Village. The team planned the interior as a series of tiers, hence the name Cascade House.

Long staircase spans converted London apartment by PATALAB Architecture

The first step in the renovation was to add an extra storey at the rear of the building. The architects then created a long route that leads directly from the entrance all the way up to this new top level, allowing it to function as both corridor and stairwell.

Long staircase spans converted London apartment by PATALAB Architecture

Skylights bring natural light into the stairwell, while inside walls are lined with pine panels that have been sand-blasted and stained black.

Long staircase spans converted London apartment by PATALAB Architecture

“This was one of our most challenging design projects in terms of creating a sense of space at a very confined site in a listed building,” said studio founder Uwe Schmidt-Hess. “By introducing the internal timber panelled staircase facade and creating a very intense spatial sequence, the apartment feels much bigger than it actually is.”

Long staircase spans converted London apartment by PATALAB Architecture

The timber staircase treads are also stained black, as are floors throughout the apartment, helping to create a sense of unity through each of the spaces.

Long staircase spans converted London apartment by PATALAB Architecture

Upon entering, the first room to arrive at is the combined living room and kitchen. The unusual door sits at one of the corners of this space, comprising two halves that concertina into the wall so that they don’t get in the way when open.

Cascade House by PATALAB Architecture

There’s also a window between this room and the stairwell to help light filter between the two spaces.

Cascade House by PATALAB Architecture

Here’s a project description from the architects:


Cascade House

‘Cascade’ staircase and right-angled door boost the sense of living space at a listed building conversion in Hampstead Village, London.

Cascade House by PATALAB Architecture

Building a luxury two-bedroom apartment as an extension to the modestly sized dimensions of an existing retail premises in this Georgian building in the very heart of London’s Hampstead village, while providing occupants with a heightened sense of living space, was the design challenge for PATALAB Architecture.

Cascade House by PATALAB Architecture

The Grade II listed building, on the corner of Hampstead High Street and Perrin’s Court, consists of three storeys of floor space. The rear of the building extends to two floors. The design solution for creating a two-storey dwelling and giving it a feeling of enhanced space was to create a new mansard-roofed third storey at the rear of the building. This has maximised the headroom in the new living room/kitchen area inside while minimising visual mass externally, thereby satisfying the listed building requirements of the local planning authority.

Cascade House by PATALAB Architecture

A new access staircase for the apartment runs for most of the building’s depth, at the back of the new accommodation, adding to the sense of space. There is a short, right angled turn at the foot of it, leading to the street entrance door. The visual effect of the continuous fall of black-stained timber staircase treads, together with the double storey living space, has given the new dwelling its name, Cascade House.

Cascade House by PATALAB Architecture

The staircase is well lit by roof skylights and has a grain textured facade of pine panels one side of it which has been sandblasted to enhance the surface texture and stained black to increase the graphic effect. This gives an impressive, continuous, feature-like quality to the entrance space.

Cascade House by PATALAB Architecture

The sense of space has been further enhanced by the creation of a right-angled entrance door to the living room/kitchen area, an unique design feature. An internal window in the living room wall provides extra daylight exposure to the stairwell, as well as providing a double light aspect to the living space.

Cascade House by PATALAB Architecture
Axonometric diagram – click for larger image
Cascade House by PATALAB Architecture
Detailed diagram – click for larger image

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Hugh Strange Architects slots architectural archive inside old farmyard barn

British studio Hugh Strange Architects has transformed an agricultural barn in Somerset, England, into a family archive building by inserting a new timber structure within the dilapidated brick and stone shell.

Architecture Archive and Office by Hugh Strange Architects

Located on a working farm amongst a mixture of barns and sheds dating from the nineteenth century through to the present day, the building was designed by Hugh Strange Architects to store the architectural archives of the client and farm.

Architecture Archive and Office by Hugh Strange Architects

The architects stabilised and repaired the walls and roof of the old stone and brick barn, before inserting two new timber structures inside.

Architecture Archive and Office by Hugh Strange Architects

Both of these new structures were constructed from a single layer of cross-laminated timber panels, which required no insulation, external cladding or internal lining. They are identical in volume, but subtly differentiated in their fenestration and fit-out.

Architecture Archive and Office by Hugh Strange Architects

“We choose timber because it provides a stable environment for the drawings in the collection – both thermally and in terms of relative humidity,” Hugh Strange told Dezeen. “It is also a wonderfully warm material and has many sustainability benefits.”

Architecture Archive and Office by Hugh Strange Architects

The south building provides a drawing archive and display space and is light from above by a skylight.

Architecture Archive and Office by Hugh Strange Architects

The north building provides an office space and features large French windows that offer views to the woods outside.

Architecture Archive and Office by Hugh Strange Architects

In contrast to the engineered spruce construction, the buildings are fitted out with hardwood floor mats made from timber felled from the surrounding woodlands and dried in the neighbouring wood store.

Architecture Archive and Office by Hugh Strange Architects

Inside, wall-mounted timber display cases are used to display drawings from the archive. “The edges are detailed with hessian and the stitches are deliberately not cut off on the back side to reveal the process,” said Strange.

Architecture Archive and Office by Hugh Strange Architects

Photography is by David Grandorge.

Here’s a project description from Hugh Strange Architects:


Architecture Archive, Somerset

Site & Brief

Located within the context of a working Somerset farmyard, the new building provides an office and store that houses the client’s architectural and family archives.

Architecture Archive and Office by Hugh Strange Architects

The project sits within an agricultural valley in a mix of buildings that includes a large farmhouse, a converted Dairy Cottage, a traditional wood store and a mix of barns and sheds that date from the 19th Century, through the 1970’s, to a recently completed cow shed.

Architecture Archive and Office by Hugh Strange Architects

Layout & Form

The dilapidated walls and roof of an old stone and brick barn have been removed and the remaining walls carefully stabilised and repaired.

Architecture Archive and Office by Hugh Strange Architects

Within these walls two timber structures have been inserted with a single new roof over-sailing the whole composition and providing a covered entrance. The two new timber buildings are identical in their volumes but subtly differentiated in their fenestration and fit-out.

Architecture Archive and Office by Hugh Strange Architects

The south building provides a drawing archive and display space and is predominantly top lit by a generous roof light.

Architecture Archive and Office by Hugh Strange Architects

The north building provides an office space and is characterised by large French windows that offer views to the woods outside. To the rear of the building a modest external space is provided, enclosed by the retaining wall to the sloping side of the valley, with a generous external stair providing access up to the surrounding woodlands.

Architecture Archive and Office by Hugh Strange Architects

Construction & Environment

The new building shell is constructed of a single layer of solid wood without insulation, external cladding or internal lining. The Cross-Laminated Timber panels range from 300mm to 420mm in thickness and simultaneously provide insulation and thermal mass, creating a stable internal environment for the archive in terms of its temperature and relative humidity.

Architecture Archive and Office by Hugh Strange Architects

The simple timber forms sit on a rough in-situ cast concrete base and are protected by a profiled cement roof similar to those of the surrounding barns. The vented space between the timber and the roof cladding prevents overheating during hot summer months.

Architecture Archive and Office by Hugh Strange Architects

In contrast to the engineered Spruce construction, the buildings are fit-out with hardwood floor ‘mats’ using timber felled from the surrounding woodlands and dried in the neighbouring wood store.

Architecture Archive and Office by Hugh Strange Architects

Rough-sawn cedar floorboards to the office and smooth-sanded and oiled ash and beech to the archive distinguish the different characters of the spaces.

Architecture Archive and Office by Hugh Strange Architects

Architect:
 Hugh Strange Architects
Structural Timber: Eurban / Stora Enso
Structural Engineer: Price & Myers
Joinery: Andrew Balls
Display Panels: Jude Dennis / Lars Wagner
Construction Manager: Paul Rawson
Budget: £250,000

Architecture-Archive-Office-by-Hugh-Strange-Architects-Dezeen-location_plan_text_468
Site plan – click for larger image
Architecture-Archive-Office-by-Hugh-Strange-Architects-Dezeen-site-plan_crop_468
Floor plan – click for larger image
Architecture-Archive-Office-by-Hugh-Strange-Architects-Dezeen-detail_section_468
Detailed section – click for larger view
Architecture-Archive-Office-by-Hugh-Strange-Architects-Dezeen-axo_468
Axonometric diagram – click for larger image

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New photographs show Rogers’ Leadenhall Building nearing completion

These new shots by London photographer Rory Gardiner show the tapered form of The Leadenhall Building by Rogers Stirk Harbour + Partners, which is nearing completion in the City of London (+ slideshow).

New photographs show Rogers Leadenhall Building nearing completion

Nicknamed “the cheesegrater”, the 224-metre office tower was designed by Richard Rogers’ firm for a site beside the architect’s celebrated Lloyds Building and features one sloping facade to maintain views towards St Paul’s Cathedral.

New photographs show Rogers Leadenhall Building nearing completion

The exterior of the 50-structure is expressed as a series of constituent parts. A glazed curtain wall sits over the criss-crossing steel grid fronting the office floors, while a ladder frame encases the fire-fighting cores, and a circulation tower runs up the northern side of the building.

New photographs show Rogers Leadenhall Building nearing completion

Scheduled for completion later this year, The Leadenhall will house offices in its upper levels, but the base will accommodate a seven-storey-high public space filled with shops and restaurants.

New photographs show Rogers Leadenhall Building nearing completion

Photography is by Rory Gardiner.

Here’s a description of the building from Rogers Stirk Harbour + Partners:


The Leadenhall Building

The building comprises a number of distinct architectural elements that provide clarity to the composition both as a whole and as a legible expression of its constituent parts. These elements include the primary stability structure, the ladder frame, the office floor plates, the northern support core, the external envelope and the public realm.

New photographs show Rogers Leadenhall Building nearing completion

The structure aims to reinforce the geometry defined by the development envelope, which in turn creates the distinctive tapering form, and takes the form of a perimeter braced ‘tube’ that defines the extent of the floor plates. The ladder frame contributes to the vertical emphasis of the building, and encloses the fire-fighting cores that serve the office floors. The frame also visually anchors the building to the ground.

New photographs show Rogers Leadenhall Building nearing completion

The office floors take the form of simple rectangular floor plates which progressively diminish in depth by 750 millimetres towards the apex. Office floors are connected to the structural ‘tube’ at every floor level without the need for secondary vertical columns at the perimeter.

New photographs show Rogers Leadenhall Building nearing completion

The northern support core is conceived as a detached tower containing all passenger and goods lifts, service risers, on-floor plant and WCs. Three groups of passenger lifts serve the low, mid and high rise sections of the building, and are connected by two transfer lobbies at levels ten and 24.

New photographs show Rogers Leadenhall Building nearing completion

The position of the northern support core relative to the office areas means that the structure is not required to be over-clad with fire protection, allowing the whole to be designed and expressed as visible steelwork. This articulated steel frame provides clarity to the whole assemblage.

New photographs show Rogers Leadenhall Building nearing completion

The highly transparent glazed enclosure makes manifest the structure and movement systems within; its physical presence is a striking and dynamic addition to the City and a unique spectacle for the enjoyment for passers-by.

New photographs show Rogers Leadenhall Building nearing completion

The building is designed to express all the constituent elements behind a single glazed envelope. Facades to the office areas require the highest comfort criteria in relation to heat loss, daylight, glare control and solar gain. Here, the facade is supplemented with an internal layer of double-glazing, forming a cavity which incorporates the structural frame.

New photographs show Rogers Leadenhall Building nearing completion

The external glazing incorporates vents at node levels to allow outside air to enter and discharge from the cavity. Controlled blinds in the cavity automatically adjust to limit unwanted solar gain and glare.

New photographs show Rogers Leadenhall Building nearing completion

The lower levels of the building are recessed on a raking diagonal to create a large public space that opens up to the south. The spectacular scale of the semi-enclosed, cathedral-like space is without precedent in London and will create a major new meeting place and a unique destination in itself.

New photographs show Rogers Leadenhall Building nearing completion

Overlooking the space are generous terrace areas within a bar and restaurant that provide animation and views into the public space and beyond. This enclosure is open at ground level to give access from all directions. The public space is fully accessible by means of a large, gently raked surface connecting St Helen’s Square with Leadenhall Street.

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Oak walkway by Levitate inserted into ruined castle

London studio Levitate have reinstated access to a sixteenth-century English castle by repairing stonework and slotting a continuous oak walkway into the ruined shell.

Levitate inserts oak walkway inside shell of ruined castle

Built on a cliff edge in Dorset, Sandsfoot Castle is under constant attack from coastal erosion and as a result had been unsafe for visitors since the 1930s. Levitate was commissioned to carry out a conservation project so the castle could be reopened to the public.

Levitate inserts oak walkway inside shell of ruined castle

Levitate designed a lightweight walkway that slots into the internal space of the ruin. It traces the ruined walls, touching the fabric of the castle in as few places as possible.

Levitate inserts oak walkway inside shell of ruined castle

“It is versatile; providing a backdrop to performances, concerts, re-enactments and a meeting place,” the architects told Dezeen.

Levitate inserts oak walkway inside shell of ruined castle

The walkway is installed at what used to be ground level, providing a gallery-like space that allows visitors to occupy the castle as it had been historically.

Levitate inserts oak walkway inside shell of ruined castle

“Setting the walkway at this level makes it possible to step off the new surface and into the deep window reveals, allowing the castle to be better appreciated,” added the architects.

On the coastal side, the walkway juts out into a doorway to create a balcony with views across the harbour.

Levitate inserts oak walkway inside shell of ruined castle

The walkway is constructed of oak boards that sit on top of a galvanised steel frame. These materials were chosen for their low maintenance and ability to withstand the harsh coastal environment.

A continuous oiled-oak handrail runs around the inside of the walkway, designed as a place to lean.

Levitate inserts oak walkway inside shell of ruined castle

Sandsfoot Castle is one of 24 projects shortlisted for the AJ Small Projects 2014. The winner will be announced next month.

Here’s a project description from Levitate:


Sandsfoot Castle

Sandsfoot Castle was built by Henry VIII between 1539 and 1541 to work with Portland Castle to protect the waters of the Portland Roads against the threat of foreign invasion. Standing on the cliff edge the castle has been under attack from coastal erosion since it was built. Most of the ashlar stone has been lost to local building projects and thieves. The castle has been closed to the public since the 1930s.

The project was part funded by the HLF with Weymouth & Portland Borough Council providing match funding, and consisted of conservation treatment to the castle stonework and the insertion of a new lightweight walkway to open the castle up to the public once more. The work was completed on time and on budget, opening in the summer of 2012 to be enjoyed as part of the Olympic events being held in the town, the location of the sailing and windsurfing events.

Levitate inserts oak walkway inside shell of ruined castle
Ground plan – click for larger image

Addressing the historic problems of cliff erosion and stone theft, the stone conservation work was carried out in lime mortars, with small scale reinforcement and supporting interventions to conserve the castle as found. Soft cappings were installed on the wall tops as an alternative to the existing cement cappings.

The new walkway allows public access to the castle and encourages local ownership of the site. It was designed to be a lightweight element sitting elegantly within the ruined castle at the level of the former floor. It touches the castle fabric in as few places as possible. Peeping out through a doorway on the seaward side it allows a view of Portland Harbour that the castle was built to protect, and its sister castle, Portland. The continuous timber handrail provides a comfortable place to lean and is supported by two continuous rows of balusters.

Levitate inserts oak walkway inside shell of ruined castle
Long section – click for larger image

Galvanised steel was chosen as a robust and economic material for both the structure of the walkway and to form barriers to accessing the interior of the castle walls. It is accompanied by sawn oak boards and an oiled oak handrail. The simple palette complements the rough castle walls in a functional but pleasingly tactile way.

Interpretation panels telling the history of the castle were also prepared by Levitate.

Levitate inserts oak walkway inside shell of ruined castle
Short section – click for larger image

Project name: Sandsfoot Castle
Location: Weymouth, Somerset
Client: The Friends of Sandsfoot Castle and Weymouth & Portland Borough Council
Conservation Architect and Architect: Levitate
Structural Engineer: Paul Carpenter Associates
Contractor: Sally Strachey Historic Conservation (castle conservation) Bridmet (walkway and balustrades)
Value: £165,000
Date of Completion: June 2012 Shortlisted for the 2013 Galvanizers Awards and the 2014 AJ Small projects Award

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Light glows through the cedar facade of Writer’s Shed by Weston Surman & Deane

Hidden at the bottom of a London garden, this glowing shed by British studio Weston, Surman & Deane was designed as a writing retreat for an author (+ slideshow).

Writer's Shed with a glowing cedar facade by Weston Surman & Deane

Weston, Surman & Dean was asked to build a studio that reflected the client’s passion for children’s literature and mythology, and responded by creating a whimsical cabin that features a back-lit facade.

Writer's Shed with a glowing cedar facade by Weston Surman & Deane

The inner facade of the Writer’s Shed is shingle-clad with a glazed sliding door that opens out to a covered veranda facing back towards the house. A cedar screen fronts the veranda and gaps between the narrow slats allow light to shine out at night.

Writer's Shed with a glowing cedar facade by Weston Surman & Deane

The architects said that the wood was chosen for its reliance and sensitivity to ageing, “complimenting the role of the shed as a place of changing ideas and production.”

Writer's Shed with a glowing cedar facade by Weston Surman & Deane

Tucked away behind the cedar frame are logs to be used in the wood burning stove that heats the shed, which sits on concrete paving slabs and leans against the gable wall. Oiled chipboard bookcases for the writer’s library fill the space around it and painted pine boards cover the floor.

Writer's Shed with a glowing cedar facade by Weston Surman & Deane

A reclaimed sink with garden taps and a brass splash back sits on one of the shelves.

Writer's Shed with a glowing cedar facade by Weston Surman & Deane

A large skylight in the asymmetric pitch roof above fills the workspace with natural light.

Writer's Shed with a glowing cedar facade by Weston Surman & Deane

Weston, Surman & Deane, also known as WSD Architecture, was launched by three Royal College of Art architecture graduates after they completed their first project, the Royal College of Art Student Union Cafe.

Writer's Shed with a glowing cedar facade by Weston Surman & Deane

The Writer’s Shed is one of 24 projects shortlisted for the AJ Small Projects Award 2014. The winner will be announced next month.

Writer's Shed with a glowing cedar facade by Weston Surman & Deane

Here’s a project description from Weston, Surman & Deane:


Writer’s Shed

WSD Architecture were commissioned by an author and illustrator to design & build a ‘writer’s shed’. Capitalising on their multi-disciplinary backgrounds WSD acted as designers, project managers, and lead contractors.

Writer's Shed with a glowing cedar facade by Weston Surman & Deane

The design responds to the client’s passion for children’s literature and mythologies.The space is conceived as a haven in the city; a fairy-tale hut at the bottom of the garden where the client can retreat and immerse himself in his work.

Writer's Shed with a glowing cedar facade by Weston Surman & Deane

Externally, the glowing cedar facade, shingle cladding, log store and chimney all play a part in creating this world. Inside, a large north-facing skylight floods the workspace with natural light. On the gable wall, a bookcase meanders around the wood burning stove, providing a centre piece for the client to store his library of books. Looking back out over the garden, the glazed sliding door gives onto a covered verandah – a space perfect to enjoy the very worst of the British weather.

Writer's Shed with a glowing cedar facade by Weston Surman & Deane
Plan – click for larger image

In February 2014, Weston Surman & Deane were short-listed for the Architects’ Journal Small Projects Competition 2014.

Writer's Shed with a glowing cedar facade by Weston Surman & Deane
Section – click for larger image

Budget: £31,000
Client: Private
Location: Hackney, London
Architects: Weston Surman & Deane Architecture Ltd.
Lead Contractors: Weston Surman & Deane Architecture Ltd.

Writer's Shed with a glowing cedar facade by Weston Surman & Deane
Elevation – click for larger image

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Patterned brickwork surrounds Atelier ChanChan’s Herringbone House

Pale bricks are arranged in a herringbone pattern on the outer walls of this compact house in north-east London that local architect Zoe Chan designed and built for herself (+ slideshow).

Herringbone House by Atelier ChanChan

The Atelier ChanChan principal wanted the house to relate to the Victorian terraces that characterise London’s housing stock but to also have its own character, so she chose a steel frame infilled with a non-load-bearing herringbone brickwork, instead of the typical English and Flemish brick bonds.

Herringbone House by Atelier ChanChan

“The choice to use brick creates a visual reference to the masonry construction of this particular street,” Chan told Dezeen. “However this isn’t a terrace, it’s quite different in character, so I chose to create my own personal expression using brickwork as the basis.”

Herringbone House by Atelier ChanChan

Named Herringbone House, the two-storey structure slots into a non-linear plot that previously accommodated a series of derelict buildings, all of which had to be demolished beforehand. “It was in such bad repair, so everything needed to come down,” said Chan.

Herringbone House by Atelier ChanChan

One of the biggest challenges was ensuring that light would be able to reach all parts of the 30-metre-long plot. As such, the house takes on an L-shaped plan that wraps around private courtyards at the front and back to allow light to permeate both floors.

Herringbone House by Atelier ChanChan

Two skylights puncture the gabled roof to draw extra light in from above. One sits directly above the stairwell, where Chan has added a steel staircase with open risers to allow more light through.

Herringbone House by Atelier ChanChan

For the interior, white-washed timber floors and surfaces are complemented by Scandinavian furniture, and a variety of soft grey and pinkish hues.

Herringbone House by Atelier ChanChan

“I wanted to use materials that are very natural but also warm,” said Chan. “The idea was to maximise light, but I didn’t want it to be sterile, so I drew inspiration from Scandinavian architecture and its light natural palettes.”

Herringbone House by Atelier ChanChan

An open-plan layout on the ground floor brings the living room and kitchen alongside one another, while a small study sits to one side and opens out to the front courtyard through a wall of glazing.

Herringbone House by Atelier ChanChan

Three bedrooms are located beneath the sloping ceilings of the top floor and feature built-in storage units designed to add to the thickness of the walls.

Herringbone House by Atelier ChanChan

Photography is by Mike Tsang.

Here’s a short description from  Zoe Chan:


Herringbone House

The house aims to relate to its context by taking the syntax of the local vernacular: namely gable ended roofs and the brick material of the Victorian terraces. However, the open plan interiors with ceiling to floor windows, skylights and courtyards are supported by a modern steel structure.

Herringbone House by Atelier ChanChan

The combination making for a modern vernacular house inspired by the old to create something new. The ornamental herringbone brickwork was used to create personal expression and to articulate the picture windows and volumes by using framing, pattern and variety in the laying of the bricks.

Herringbone House by Atelier ChanChan

Practice name: Atelier ChanChan
Team: Zoe Chan (lead designer), Bob Chan and Joao Neves
Location: Islington, London

Herringbone House by Atelier ChanChan
Ground floor plan
Herringbone House by Atelier ChanChan
First floor plan
Herringbone House by Atelier ChanChan
Long section – click for larger image

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Designs proposed for union jack flag without Scotland

Alternative designs proposed for the union jack flag without Scotland

News: alternatives to the current United Kingdom flag presented by a national flag charity have provoked a debate about whether a new design should be commissioned if Scotland chooses independence in its upcoming referendum.

Alternative designs proposed for the union jack flag without Scotland
The union jack flag with gold St David’s cross added

The Flag Institute, an independent charity dedicated to the study and documentation of flags, asked experts and members of the public to design new versions of the union jack that would reflect Scotland’s independence.

Alternative designs proposed for the union jack flag without Scotland
Design exchanging the blue of Scotland’s cross of St Andrew with the black of Wales’ cross of St. David

The designs were proposed by people responding to a survey conducted by the Flag Institute, in which 65 percent of respondents claimed the Union Flag should change if Scotland becomes independent.

Alternative designs proposed for the union jack flag without Scotland
Design with a colour change from blue to black and symbols representing the different (current) home nations

The United Kingdom’s current flag features the saltire of St Andrew representing Scotland, the English cross of St George and the red saltire of St Patrick for Ireland.

Alternative designs proposed for the union jack flag without Scotland
Design incorporating the green of the Welsh Dragon flag

Suggestion for a possible new flag included replacing the saltire with colours or shapes representing Wales, which was part of the English kingdom when the flag was originally designed.

Alternative designs proposed for the union jack flag without Scotland
Design with black and gold from the St. David flag

One proposal showed the blue saltire of St Andrew replaced with the black ground and yellow cross of the patron saint of Wales, St David.

Alternative designs proposed for the union jack flag without Scotland
Design combining elements from the existing flags

Other designs employed the red, white and green colours of the Welsh Dragon flag, or featured the dragon itself. A design by John Yates fragmented the colours and crosses of each nation into a pattern of overlapping shapes, while others integrated royal iconography.

Alternative designs proposed for the union jack flag without Scotland
Modern interpretation of the flag with the colours of St David’s flag and the Scottish blue

The Flag Institute’s chief executive Charles Ashburner pointed out that the organisation is neither encouraging nor discouraging a change to the flag, but is “simply here to facilitate and inform the debate if there is an appetite for such a thing.”

Alternative designs proposed for the union jack flag without Scotland
Design with the Royal Coat of Arms added and surrounded by a garland of items symbolic of the Commonwealth nations

“As this subject has generated the largest post bag of any single subject in our history ever, there clearly is such an appetite,” Ashburner added.

Alternative designs proposed for the union jack flag without Scotland
Design with the white of St Andrew’s saltire removed and a crown and Royal Standard included

When the alternative flags were posted on the BBC’s online magazine they prompted further suggestions from the public, including many “which kept the shapes in the current union jack but changed the colours.”

Alternative designs proposed for the union jack flag without Scotland
Design with elements of the Welsh Dragon flag (Y Ddraig Goch)

The Scottish public will vote on the issue of independence on 18 September 2014, however the College of Arms, which oversees matters relating to flags and heraldry and acts under Crown Authority, told British broadcaster ITV that there are no plans to change the Union Flag if Scotland becomes an independent state.

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Studio Octopi renovates Edwardian townhouses for the Delfina Foundation

Glazed panels create views between the floors of these two Edwardian townhouses in London that have been renovated by local architects Studio Octopi to accommodate resident artists (+ slideshow).

Edwardian townhouse renovation by Studio Octopi features windows in the floors

By connecting two neighbouring properties, Studio Octopi has doubled the residency capacity of non-profit arts organisation the Delfina Foundation from four to eight, making it London’s largest artist residency provider.

Edwardian townhouse renovation by Studio Octopi features windows in the floors

The architects responded to a competition brief aimed at retaining the residential character of the townhouses by focusing on the central role of the hearth. They preserved existing fireplaces on the ground floor, as well as recesses and hearth stones in the artists’ private areas on the top two storeys.

Edwardian townhouse renovation by Studio Octopi features windows in the floors

Other original details, including brickwork and concrete lintels that previously surrounded doorways, have been left in their raw state to retain a sense of the buildings’ history.

Edwardian townhouse renovation by Studio Octopi features windows in the floors

“Adopting the role of architects-cum-archaeologists, Studio Octopi have created an environment which is unassuming, layered and contextual, while peeling back the layers of ornamentation and finish to expose the period craftsmanship of the buildings,” said the Delfina Foundation.

Edwardian townhouse renovation by Studio Octopi features windows in the floors

Throughout the interior, glazed panels in the floors and walls create a visual connection between public and private spaces, and allow light to filter through to rooms in the centre of the building.

Edwardian townhouse renovation by Studio Octopi features windows in the floors

Separate entrances for the public and the artists lead to a reception, dining room and kitchen on the ground floor of the five-storey property.

Edwardian townhouse renovation by Studio Octopi features windows in the floors

The basement houses a gallery and workshop space, while offices and a library are located on the first floor and the artists’ residences are contained on the top two floors.

Edwardian townhouse renovation by Studio Octopi features windows in the floors

Many of the spaces are updated with white walls, pale wood joinery and practical fitted cabinetry that offer a contemporary counterpoint to the grand facade and authentic detailing.

Edwardian townhouse renovation by Studio Octopi features windows in the floors

Splashes of bright colour provided by the kitchen cabinets and bathroom floor enhance the modern look of these spaces.

Edwardian townhouse renovation by Studio Octopi features windows in the floors

A small terrace located at the basement level provides an outdoor exhibition space, while a terrace on the ground floor can be accessed from the dining room.

Edwardian townhouse renovation by Studio Octopi features windows in the floors

“The scheme aims to act as a palimpsest, to retain the integrity and character of the existing buildings while simultaneously creating a series of spaces for residents, staff and visitors to use and enjoy,” said architects Chris Romer-Lee and James Lowe.

Edwardian townhouse renovation by Studio Octopi features windows in the floors

Studio Octopi designed the concept at the competition stage with Egyptian office Shahira Fahmy Architects, and subsequently oversaw the £1.4 million development and construction process.

Edwardian townhouse renovation by Studio Octopi features windows in the floors

Photography is by Julien Lanoo.

Here’s a press release about the project from Delfina Foundation:


Delfina Foundation opens its newly expanded building

The £1.4m redevelopment has doubled the residency capacity, increasing the number of residents at one time from four to eight, as well as creating 1,650 square feet of additional exhibition and event space. Currently located at 29 Catherine Place in an Edwardian townhouse in Victoria, the Foundation has expanded into the adjacent building, giving it a combined area total of 4,564 square feet.

Edwardian townhouse renovation by Studio Octopi features windows in the floors

Adhering to one of the core concepts of the Delfina Foundation’s history as a provider of ‘homes’ for artists, the architects have retained the domesticity of the two houses, exploring the significance of the hearth in a home. Across cultures and throughout history, the hearth has been an integral part of a household, becoming synonymous with notions of domesticity, and place making. Fireplaces are kept in their entirety on the lower floors, and the recesses and hearth stones are retained in the artists’ private spaces.

Edwardian townhouse renovation by Studio Octopi features windows in the floors

The designs also set out to maintain the juxtaposition of public and private spaces. The introduction of glazed panels in the floors and walls allow for their integration. Diagonal views across the buildings and through the floors expose the Foundation’s ecosystem at work, as well as opening up the two buildings and bringing in more light throughout the space. With flexible artist workspaces throughout, the five-storey property boasts an expansive gallery/workshop space on the lower ground floor; reception, dining area and kitchen on the ground level; offices and library on the first, whilst the residents’ quarters occupy the two top floors.

Edwardian townhouse renovation by Studio Octopi features windows in the floors

Adopting the role of architect cum archaeologists, Studio Octopi have created an environment which is unassuming, layered and contextual, while peeling back the layers of ornamentation and finish to expose the period craftsmanship of the buildings. New insertions are made with a light and considered touch, while detailing is discrete and at times whimsical.

Edwardian townhouse renovation by Studio Octopi features windows in the floors

Brickwork to the reveals of the new openings is left exposed and overhead concrete lintels retained in their natural state. By leaving materials in their raw state, a reminder of the building’s beginnings is introduced.

Edwardian townhouse renovation by Studio Octopi features windows in the floors

A sense of permanence is imbued in the two townhouses, linking the present with the past and consequently looking ahead into the building’s exciting future.

Basement plan of Edwardian townhouse renovation by Studio Octopi features windows in the floors
Basement plan – click for larger image
Ground floor plan of Edwardian townhouse renovation by Studio Octopi features windows in the floors
Ground floor plan – click for larger image
First floor plan of Edwardian townhouse renovation by Studio Octopi features windows in the floors
First floor plan – click for larger image
Second floor plan of Edwardian townhouse renovation by Studio Octopi features windows in the floors
Second floor plan – click for larger image
Third floor plan of Edwardian townhouse renovation by Studio Octopi features windows in the floors
Third floor plan – click for larger image
Section of Edwardian townhouse renovation by Studio Octopi features windows in the floors
Section – click for larger image
Elevation of Edwardian townhouse renovation by Studio Octopi features windows in the floors
Elevation – click for larger image

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Zaha Hadid’s Olympic aquatics centre due to open in its completed form

These photographs show the newly converted aquatics centre by Zaha Hadid Architects for the London 2012 Olympics, which will open to the public next week without the controversial wings that housed additional seating during the Games.

Zaha Hadid's Olympic aquatics centre due to open in its completed form

Now configured as it was originally designed by Zaha Hadid Architects, the temporary stands constructed for the Olympic and Paralympic Games have been removed and replaced with glazing that fills the space between the spectator stands and the roof.

Zaha Hadid's Olympic aquatics centre due to open in its completed form

In its new “legacy mode,” the centre accommodates 2500 seats for future events including the 2014 World Diving Series and 2016 European Swimming Championships.

Zaha Hadid's Olympic aquatics centre due to open in its completed form

Two boxy temporary wings housing 15,000 temporary seats that were tacked onto either side of the building when it was originally opened ahead of the Games were removed in May last year.

Zaha Hadid's Olympic aquatics centre due to open in its completed form

In a statement released ahead of the centre’s reopening on 1 March, mayor of London Boris Johnson said: “After a post-Olympic makeover, London’s majestic aquatics centre is now flinging open its doors for everyone to enjoy, whether an elite athlete or enthusiastic amateur.”

Zaha Hadid's Olympic aquatics centre due to open in its completed form

“All of the world-class sporting venues on the magnificent Queen Elizabeth Olympic Park have secured bright futures, dispelling fears of white elephants and helping to drive our ambitious regeneration plans for east London,” Johnson added.

Zaha Hadid's Olympic aquatics centre due to open in its completed form

The undulating form of the aquatics centre’s roof was based on sightlines for spectators during the Olympics, but came in for criticism when it was reported that some of the seats only offered restricted views.

Zaha Hadid's Olympic aquatics centre due to open in its completed form
Aquatics centre in Olympic mode showing temporary seating

A diving pool, competition pool and training pool are arranged in a line along the centre of the building, with the training pool housed under Stratford City Bridge on the edge of the Olympic Park.

Zaha Hadid's Olympic aquatics centre due to open in its completed form

The centre’s internal layout remains largely unchanged, but daylight now enters the space through expansive glass surfaces replacing the banked seating that rose from behind the permanent stands.

Zaha Hadid's Olympic aquatics centre due to open in its completed form

As well as prestigious international events, the venue will also provide community facilities for swimming and diving lessons, fitness and family sessions, water polo, synchronised swimming, diving, triathlon, sub aqua, gym and dry diving.

Zaha Hadid's Olympic aquatics centre due to open in its completed form

Photography is by Hufton + Crow.

Zaha Hadid's Olympic aquatics centre due to open in its completed form

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Zaha, Rogers and Chipperfield shortlisted for Crystal Palace rebuild

News: Zaha Hadid, Richard Rogers and David Chipperfield have been named on a shortlist of six architects in the running to resurrect Joseph Paxton’s Crystal Palace exhibition hall in south London.

London studios Grimshaw, Haworth Tompkins and Marks Barfield Architects also made the shortlist to recreate the “spirit, scale and magnificence” of the iron glass and steel structure that was designed by English architect Paxton to host the Great Exhibition of 1851, but was destroyed by fire in 1936.

Backed by Chinese developer the ZhongRong Group, the new exhibition venue will provide the centrepiece of a wider masterplan for the overhaul of the surrounding 80-hectare park.

Zaha, Rogers and Chipperfield shortlisted for Crystal Palace rebuild
Possible reconstruction view

“This is a stellar line-up of talent demonstrating the worldwide interest in this unique and challenging project,” said London mayor Boris Johnson, who is chairing the judging panel.

“The rebuild of The Crystal Palace is set to produce an extraordinary new landmark for the capital, which will support the rebirth of this historic park and catalyse jobs and growth in the local area,” he added.

Up to three of the shortlisted firms will be invited to prepare concept designs later this year. An overall winner will be announced shortly after and construction of the chosen scheme could start in late 2015.

Ni Zhaoxing of ZhongRong Group commented: “The expressions of interest and outstanding shortlist demonstrate the wealth and diversity of design talent inspired by the challenge of rebuilding the Crystal Palace in the spirit of the magnificent original.”

Plans to rebuild the Crystal Palace were first announced in October. Dezeen columnist Sam Jacob said the reconstruction will “only make our sense of loss greater”.

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