London Aquatics Centre 2012 by Zaha Hadid photographed by Hufton + Crow

London Aquatics Centre 2012 by Zaha Hadid

Here are some more photographs of Zaha Hadid‘s recently completed aquatics centre for the London 2012 Olympic Games, taken by UK photographers Hufton + Crow.

London Aquatics Centre 2012 by Zaha Hadid

Six curved concrete diving boards stick out like tongues across one pool at the end of the main hall, beneath an undulating wave-like roof.

London Aquatics Centre 2012 by Zaha Hadid

The competition pool is also located in this hall, which will seat 17,500 spectators during the games.

London Aquatics Centre 2012 by Zaha Hadid

Petal-shaped openings allow light through the concrete ceiling of a second hall, where a practice pool is located.

London Aquatics Centre 2012 by Zaha Hadid

Wide glass walls provide views of pools in both rooms from connecting corridors.

London Aquatics Centre 2012 by Zaha Hadid

More information and images by David Poultney can be seen in our earlier story.

London Aquatics Centre 2012 by Zaha Hadid

Other completed venues on the Olympic Park include the Olympic Stadium by Populous, the Basketball Arena by Sinclair Knight Merz and the Velodrome by Hopkins, which is nominated for the Stirling Prize. See all our stories about London 2012 here.

London Aquatics Centre 2012 by Zaha Hadid

Zaha Hadid also recently completed the Riverside Museum, which has a zig-zagging zinc-clad roof – click here to see all our stories about Zaha Hadid.

London Aquatics Centre 2012 by Zaha Hadid

Photographers Hufton + Crow also photographed a laboratory in the botanic gardens of Cambridge University and Peter Zumthor’s recently-opened Serpentine Gallery Pavilionsee all our stories with photography by Hufton + Crow here.

London Aquatics Centre 2012 by Zaha Hadid

London Aquatics Centre 2012 by Zaha Hadid

London Aquatics Centre 2012 by Zaha Hadid

London Aquatics Centre 2012 by Zaha Hadid

London Aquatics Centre 2012 by Zaha Hadid

London Aquatics Centre 2012 by Zaha Hadid

London Aquatics Centre 2012 by Zaha Hadid

London Aquatics Centre 2012 by Zaha Hadid


See also:

.

London 2012 Olympic
Stadium by Populous
London 2012 Velodrome
by Hopkins Architects
ArcelorMittal Orbit
by Anish Kapoor

The Dyson Centre for Neonatal Care by Feilden Clegg Bradley Studios

Dyson Centre for Neonatal Care by Feilden Clegg Bradley Studios

Square box windows provide seating areas at a hospital unit in Bath, UK, for sick and premature babies.

Dyson Centre for Neonatal Care by Feilden Clegg Bradley Studios

Designed by local architects Feilden Clegg Bradley Studios, the Dyson Centre for Neonatal Care comprises the refurbishment of existing facilities and a new single-storey extension.

Dyson Centre for Neonatal Care by Feilden Clegg Bradley Studios

Treatment rooms are arranged around a clockwise route that begins with intensive care units and ends with recovering patient rooms.

Dyson Centre for Neonatal Care by Feilden Clegg Bradley Studios

This circulating corridor is naturally lit through a series of skylights.

Dyson Centre for Neonatal Care by Feilden Clegg Bradley Studios

Two further corridors connect the extension to the existing building and surround a private courtyard.

Dyson Centre for Neonatal Care by Feilden Clegg Bradley Studios

The unit is constructed of cross-laminated timber, which is exposed on the interior.

Dyson Centre for Neonatal Care by Feilden Clegg Bradley Studios

Feilden Clegg Bradley Studios were one the designers of the Accordia housing development, which won the RIBA Stirling Prize in 2008 – see our earlier story.

Dyson Centre for Neonatal Care by Feilden Clegg Bradley Studios

See also: another healthcare building in Bath by Foster + Partners.

Dyson Centre for Neonatal Care by Feilden Clegg Bradley Studios

Photography is by Craig Aukland / Fotohaus.

The following information is from Feilden Clegg Bradley Studios:


New Neonatal Unit by Feilden Clegg Bradley Studios opens in Bath

The Dyson Centre for Neonatal Care opened its doors on the 23rd July to its first babies. The Royal United Hospital Neonatal Intensive Care Unit (NICU), in Bath, has been transferred from its existing small, cramped facilities into its pioneering new home.

Dyson Centre for Neonatal Care by Feilden Clegg Bradley Studios

The project, funded as a 50/50 partnership by NHS budgets and fundraising by The Forever Friends Appeal, has resulted in a dramatically different and improved environment in which the RUH can care for the 500 premature and sick babies that it looks after each year. A pioneering holistic and therapeutic approach towards the new building has created a new low carbon unit allowing the staff to practice new methods of care for premature and sick babies. The building consists of a single storey new‐build extension, and the refurbishment of the space occupied by the existing NICU facility. The new‐build element accommodates the clinical, support and reception functions as a discreet but contemporary intervention. The refurbished element comprises staff and parents’ facilities. The two elements are linked by a new ‘umbilicus’ which also provides an access point for emergency vehicles. The new building encloses an external courtyard space which provides both vista and breakout from reception and parents areas. The grouping of the care rooms forms a route around the staff base which is the heart of the unit.

Dyson Centre for Neonatal Care by Feilden Clegg Bradley Studios

The clockwise circuit of cot rooms forms a diagram of intensity of care, beginning with intensive care, then on to high dependency, then special care, on to the parents’ rooms, then finally home. From parents’ feedback progress along this ‘route’ is very important psychologically – it is important that the ever‐decreasing intensity of care is legible to parents. The consulting examination and treatment spaces are carefully daylit. Parents and staff can now perceive changing external conditions through day and night, increasing well‐being. The heart of the clinical area is generously roof lit providing daylight to all the central spaces within. Sunlight is allowed to enter the building in certain controlled areas to add sparkle and delight without disturbing the working of the unit. Within the care areas light is carefully controlled to ensure that babies gain an awareness of day and night as they develop.

Dyson Centre for Neonatal Care by Feilden Clegg Bradley Studios

Sustainability in construction and use has been central to the design of the new unit. The team were adamant that the new NICU should not be a one‐off showcase for sustainability, but should serve as a template and catalyst for sustainable healthcare design by challenging existing standards, defining new targets and developing strategies replicable elsewhere in the health sector. The unit is constructed entirely in cross laminated timber. This construction has benefits in terms of embodied energy, and is quick and clean to construct within a healthcare environment. The timber is exposed internally, creating a more calm and domestic environment within an acute clinical setting.

Dyson Centre for Neonatal Care by Feilden Clegg Bradley Studios
Click above for larger image

The project has achieved Breeam “Excellent”, and incorporates a sedum roof for rainwater attenuation, and to increase biodiversity on the site. These measures will combine to make the new Neonatal Intensive Care Unit at the Royal United Hospital a beacon for sustainability across the health sector. The building is a case study for the next generation of healthcare buildings, a benchmark for best practice which incorporates replicable strategies which are demonstrated to pay back in a defined period, in a beautiful and therapeutic environment which is of tangible benefit to parents, staff and patients.

Dyson Centre for Neonatal Care by Feilden Clegg Bradley Studios
Click above for larger image

Architects view by Matt Vaudin

“We hope that the building will have a real influence and improve the outcomes for vulnerable babies, their parents and the amazing staff who look after them. We are especially pleased with the calmness created by the timber interior, and the quality of daylight and sunlight, which will help lower stress levels and lift the spirits for the parents and the staff.”

Dyson Centre for Neonatal Care by Feilden Clegg Bradley Studios

Parent comment

The first baby to have experienced both the cramped and noisy conditions of the old NICU and the benefits of the new facilities, Joshua Heather, was transferred to the Dyson Centre for Neonatal Care at the weekend. His mother, Cheralyn, said she is thrilled to be part of this memorable day and is amazed at the light airy conditions of the new building. “It is a real transformation and it will give me the opportunity to spend more time with Joshua in such comfortable and spacious surroundings”.

Dyson Centre for Neonatal Care by Feilden Clegg Bradley Studios

Client comment

Making this become a reality “has been a real experience” stated Steve Boxall, Project Manager for the RUH. “This sustainable building has given us many challenges and we have worked together to find the answers. It has been a fantastic project from which we have learnt a great deal. A tremendous amount of interest has been shown by other healthcare professionals and we will enjoy sharing our experiences with them”.

Dyson Centre for Neonatal Care by Feilden Clegg Bradley Studios
Click above for larger image

Consultant comment

Dr Bernie Marden, NICU Consultant, who has been involved from the beginning of this project, added “It is a dream come true. The four years planning and building it has taken has been worth every minute. Babies, however small, respond to the right environment and this could not be better. The NICU staff and I are truly delighted and can’t wait to settle into our wonderful new Centre”.


See also:

.

House for elderly people
by Aires Mateus
Maison Leguay
by Moussafir
GP practice by
Vasd architects

Sainsbury Laboratory by Stanton Williams

Sainsbury Laboratory by Stanton Williams

An unusual combination of limestone columns and concrete bands surrounds the exterior of a laboratory by UK architects Stanton Williams in the botanic gardens of Cambridge University.

Sainsbury Laboratory by Stanton Williams

The Sainsbury Laboratory provides facilities for botanical research, spread over two upper storeys and a basement.

Sainsbury Laboratory by Stanton Williams

The stone piers screen a glass curtain wall on the north and east elevations, whilst the south and east facades feature gridded windows that overlook a courtyard.

Sainsbury Laboratory by Stanton Williams

Glass-fronted laboratories allow scientists to see across a double-height circulation corridor to the courtyard beyond.

Sainsbury Laboratory by Stanton Williams

This continuous corridor winds through the building and provides informal meeting areas.

Sainsbury Laboratory by Stanton Williams

Elsewhere, the building contains a herbarium, an auditorium, meeting rooms, a public cafe, garden-staff quarters and social spaces.

Sainsbury Laboratory by Stanton Williams

The laboratory is named after Lord Sainsbury, whose charitable foundation was responsible for funding the project.

Sainsbury Laboratory by Stanton Williams

The columned facade of the building presents a similar mix of modernism and classicism to David Chipperfield’s Museum of Modern Literature completed in 2006 – see our earlier story.

Sainsbury Laboratory by Stanton Williams

Other laboratories from the Dezeen archive facilitate research into natural history, genomics and nanotechnology to name a few – see all our stories about laboratories here.

Sainsbury Laboratory by Stanton Williams

Photography is by Hufton + Crow.

Sainsbury Laboratory by Stanton Williams

Here are some more details from Stanton Williams:


Sainsbury Laboratory

The Sainsbury Laboratory, an 11,000 sq.m. plant science research centre set in the University of Cambridge’s Botanic Garden, brings together world-leading scientists in a working environment of the highest quality. The design reconciles complex scientific requirements with the need for a piece of architecture that also responds to its landscape setting.

Sainsbury Laboratory by Stanton Williams

It provides a collegial, stimulating environment for innovative research and collaboration. The building is situated within the private, ‘working’ part of the Garden, and houses research laboratories and their associated support areas. It also contains the University’s Herbarium, meeting rooms, an auditorium, social spaces, and upgraded ancillary areas for Botanic Garden staff, plus a new public café. The project was completed in December 2010.

Sainsbury Laboratory by Stanton Williams

Cambridge University Botanic Garden was conceived in 1831 by Charles Darwin’s guide and mentor, Professor Henslow, as a working research tool in which the diversity of plant species would be systematically ordered and catalogued. The Sainsbury Laboratory develops Henslow’s agenda in seeking to advance understanding of how this diversity comes about. Its design was therefore shaped by the intention that the Laboratory’s architecture would express its integral relationship with the Garden beyond.

Sainsbury Laboratory by Stanton Williams

The building as a whole is rooted in its setting. There are two storeys visible above ground and a further subterranean level, partly in order to ensure efficient environmental control, but also to reduce the height of the building. The overall effect is strongly horizontal as a result. Solidity is implied by the use of bands of limestone and exposed insitu concrete, recalling geological strata and indeed the Darwinian idea of evolution over time as well as the permanence which one might expect of a major research centre. At the same time, however, permeability and connections – both real and visual – between the building and the Garden have been central to its conception.

Sainsbury Laboratory by Stanton Williams

The building’s identity is established externally by the way in which it is expressed and experienced as a series of interlinked yet distinct volumes of differing height grouped around three sides of a central courtyard, the fourth side of which is made up of trees planted by Henslow in the nineteenth century. The internal circulation and communal areas focus upon this central court, opening into it at ground level and onto a raised terrace above in order to provide immediate physical connections between the Laboratory and its surroundings.

Sainsbury Laboratory by Stanton Williams

Further visual connections are created by the careful use of glazing in the building. At ground level, extensive windows provide views of the courtyard and the Garden beyond, allowing these internal areas to be read as integral elements of the outdoor landscape. The first floor is also largely glazed. Its windows are screened by narrow vertical bands of stone that imbue the elevation with a regular consistency, behind which the pattern of fenestration could potentially be altered in response to future requirements.

Sainsbury Laboratory by Stanton Williams

Related to the conception of the building in terms of its landscape setting is the way that its internal areas are connected by a continuous route which recalls Darwin’s ‘thinking path’, a way to reconcile nature and thought through the activity of walking. Here the ‘thinking path’ functions as a space for reflection and debate.

Sainsbury Laboratory by Stanton Williams

It is intended to promote encounters and interaction between the scientists working in the building, and between them and the landscape. With glazed windows facing the court on one side and internal windows offering glimpses of the laboratories on the other, it operates as a transitional zone between the top-lit working areas at the centre of the building and the Botanic Garden itself. In this respect, the ‘path’ reinterprets the tradition of the Greek stoa, the monastic cloister, and the collegiate court, all of which were intended to some extent as semi-outdoor spaces for contemplation and meetings. As a result, past, present, and future are connected. The work of the laboratories will seek to understand the plant diversity that is glorified by the arrangement of the historic Botanic Garden in which it is set and which, though pleasant to visit, continues to function as a working space devoted to groundbreaking research.

Sainsbury Laboratory by Stanton Williams

Professor Sir Leszek Borysiewicz, Vice-Chancellor of the University of Cambridge, said: “Cambridge has a strong record in the study of plant biology – a science which is now accepted as critical for our planet. This makes the Gatsby Foundation’s award to the University both natural and transformational – we are truly grateful.”

Sainsbury Laboratory by Stanton Williams

Lord Sainsbury said: “This is one of the most exciting projects with which my Charitable Foundation has been involved. It combines an inspirational research programme, an historic site in the Botanic Garden and a beautiful laboratory designed by Stanton Williams, and I believe it will become a worldclass centre of excellent plant science.”

Sainsbury Laboratory by Stanton Williams

Professor John Parker, the recently retired Director of the Botanic Garden who has been the sole representative of the Garden at project meetings, said: “The Garden looks forward in the 21st Century to maintaining its position with the study of plant diversity in the most modern way. The Laboratory will be dedicated to the advancement of curiosity-driven research. However it is hard to imagine that increasing our knowledge of the fundamental mechanisms of plant development is not going to have a very significant impact on the improvement of agriculture in years to come.”

Sainsbury Laboratory by Stanton Williams

Key Values

Project Value: £82 million
Contract value: £69 million
Construction value: £65 million (contract value less the consultants fees)
Cost per sq m: £4,975/sq m for the main laboratory


Sainsbury Laboratory by Stanton Williams
Click above for larger image

Key dates
Construction Start date: February 2008
Completion Date: December 2010
Date of Occupation: January 2011
Project Duration: June 2006 – January 2011
Planning phase: June 2006 – February 2008
Construction phase: February 2008 – January 2011

Sainsbury Laboratory by Stanton Williams
Click above for larger image

Building Details
Postal Address: The Sainsbury Laboratory, Bateman Street,
Cambridge, CB2 1LR
Number of Occupants: 150
Gross Internal Area: 11,000m2 (incl. all buildings, excl. external landscaped areas)

Sainsbury Laboratory by Stanton Williams

Click above for larger image

Project Team
Client: The University of Cambridge
Funder: The Gatsby Charitable Foundation
Strategic Project Manager: Stuart A. Johnson Consulting Ltd
Project and Contract Administrator: Hannah – Reed
Project Officer: University of Cambridge Estate Management
Representative Users: Cambridge University Botanic Garden,
The Gatsby Charitable Foundation
Main Contractor: Kier Regional
Architect: Stanton Williams
Civil and Structural Engineer: Adams Kara Taylor
Building Services Engineer: Arup
Cost Consultant: Gardiner & Theobald
Landscape Architects:Christopher Bradley-Hole Landscape and
Schoenaich Landscape Architects
CDM Coordinator: Hannah – Reed
Approved Building Inspector: Cambridge City Council

Sainsbury Laboratory by Stanton Williams
Click above for larger image


See also:

.

Van Leeuwenhoek Laboratory  by DHV Architecten Facebook Headquarters by Studio O+A Mensa Triangle by SOMAA
Van Leeuwenhoek
Laboratory by DHV
Facebook Headquarters
by Studio O+A

Mensa Triangle
by SOMAA

London Aquatics Centre 2012 by Zaha Hadid

London 2012 Aquatics Centre by Zaha Hadid Architects

The aquatics centre designed by Zaha Hadid for the London 2012 Olympic Games is complete.

London 2012 Aquatics Centre by Zaha Hadid Architects

The 17,500-seat centre is the final permanent venue to be completed at the Olympic Park, one year ahead of the games.

London 2012 Aquatics Centre by Zaha Hadid Architects

The aquatics centre features an undulating wave-like roof that critics originally speculated would be too complex to build on time.

London 2012 Aquatics Centre by Zaha Hadid Architects

The competition and diving pools are sheltered below this steel roof, enclosed within the main hall.

London 2012 Aquatics Centre by Zaha Hadid Architects

Above photograph is by Anthony Charlton / Getty

A third pool to be used for training is located beneath the Stratford City Bridge, which is also sheltered by the curving canopy.

London 2012 Aquatics Centre by Zaha Hadid Architects

Above photograph is by Anthony Charlton / Getty

Wings on each side of the building provide additional seating but will be removed once the games are over.

London 2012 Aquatics Centre by Zaha Hadid Architects

Above photograph is by Anthony Charlton / Getty

Other completed venues on the Olympic Park include the Olympic Stadium by Populous, the Basketball Arena by Sinclair Knight Merz and the Velodrome by Hopkins, which was recently nominated for the Stirling Prize. See all our stories about London 2012 here.

London 2012 Aquatics Centre by Zaha Hadid Architects

Zaha Hadid also recently completed the Riverside Museum, which has a zig-zagging zinc-clad roof – click here to see all our stories about Zaha Hadid.

London 2012 Aquatics Centre by Zaha Hadid Architects

Photography is by David Poultney/Getty, apart from where otherwise stated.

London 2012 Aquatics Centre by Zaha Hadid Architects

Here are some more details from the Olympic Delivery Authority:


Aquatics Centre unveiled as main Olympic Park venues completed on time and budget

With exactly a year to go until the start of the London 2012 Games, the Olympic Delivery Authority (ODA) has announced that the Aquatics Centre is now complete, the last of the six main Olympic Park venues to finish construction.

The Olympic Stadium, Velodrome, Handball Arena, Basketball Arena and the International Broadcast Centre were all completed earlier this year.

The Aquatics Centre is being unveiled with British Olympic hopeful Tom Daley making the first dive into the pool.

Back in July 2006, the ODA set out a challenging brief to clean and clear the Olympic Park site and build the new venues and infrastructure needed in time for test events by the summer of 2011 – a year before the Games. This has now been achieved on time, to budget, with a safety record far better than the industry average, and by setting new standards in sustainability and accessible design.

Double Commonwealth Gold medallist and 2012 hopeful Tom Daley said: ‘Marking the 1 year to go, by diving in the Aquatics Centre is an incredible honour. Only a few years ago, this was a distant dream. The fact that I qualified at the weekend and am taking the first dive is a complete privilege. I can’t wait for next year and the honour of representing Team GB.’

ODA Chairman John Armitt said: ‘The Aquatics Centre will be a fantastic gateway to the Games in 2012 and a much-needed new community and elite sporting venue for the capital afterwards. Five years ago, in July 2006, we published a delivery timetable which set out the ambitious target to complete the main venues a year before the Games. Today, with the completion of the sixth main permanent venue, I am proud to say that we have delivered on that commitment.

‘The completion of the Aquatics Centre is the latest chapter in a British success story where tens of thousands of workers and business from across the UK have demonstrated the ability of this country to successfully deliver major projects.’

LOCOG Chair Sebastian Coe said: ‘With construction now complete on the Aquatics Centre, we are another step closer to the spectacular Olympic Park which will be host to world class sport in 2012. And after the Games, the venue will become a much-needed swimming facility for London with community use at its heart, epitomising the spirit of London’s bid – a Games which would bring lasting change and encourage people to choose sport. Everyone involved can be very proud of this venue and the progress of the Olympic Park as a whole. I congratulate the ODA and their teams who have done a fantastic job.’

Secretary of State for Culture, Olympics, Media and Sport Jeremy Hunt said: ‘The build project for London 2012 has been a huge success for the British construction industry, public sector and UK plc as a whole. The completion of the Aquatics Centre is the final permanent world-class sport venue to be finished on the Park and a proud moment for the ODA. All those that have worked on the Olympic Park deserve huge credit for what they have achieved. The venues are stunning and the stage is now set for us to put on the greatest sporting show on earth.’

The Mayor of London Boris Johnson said: ‘It’s fantastic to add the beautiful Aquatics Centre to London’s list of first class venues which are already set to welcome the world’s greatest sportsmen and women. To have all six permanent venues complete with a year still to go to the Games is a great achievement, and a firm sign that we are well on track to deliver a truly spectacular show in 2012. Congratulations to the ODA and all those who have worked on the construction of the Olympic Park for reaching this milestone.’

Andrew Altman, Chief Executive of the Olympic Park Legacy Company, said: ‘The Aquatics Centre will be a unique facility in London that puts sport at the heart of regeneration. As a focal point for community, national and international swimming, it will sit at the centre of the south plaza – London’s newest public space which will welcome visitors to the Queen Elizabeth Olympic Park after the Games.’

Construction started on the Zaha Hadid-designed Aquatics Centre just over three years ago in June 2008 and has been completed on time and with an exemplary safety record. Over 3630 people have worked on the construction of the venue and over 370 UK businesses have won contracts including the steel for the roof from Wales, pool lights from Scotland, pumps from Bedfordshire, under-floor heating by a company from Newcastle-upon-Tyne and water testing done by a Flintshire-based business.

In total, over 40,000 people have worked on the Park since April 2008 and over 1500 direct contracts worth £6bn have been distributed to thousands of companies across the UK.


See also:

.

2012 Olympic Arena
by Sinclair Knight Merz
2012 Olympic Stadium
by Populous
2012 Olympic Velodrome
by Hopkins Architects

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

Sarah Wigglesworth Architects designed this school in Wakefield, England, using red bricks and industrial building shapes that reflect the surrounding vernacular.

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

The Sandal Magna Community Primary School was constructed using timber and bricks, while the landscaping utilises reclaimed bricks from the demolished Victorian school that the building replaces.

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

The bell from the old school building now hangs in a new bell tower in the centre of the site.

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

Classroom blocks and the school hall have asymmetrical roof profiles that accommodate ventilation stacks.

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

Allotments behind the classrooms allow children to grow plants and vegetables.

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

The library is contained behind a screen of timber louvres.

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

The school provides education for children up to the age of 11 and a community room for adult education.

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

The school is close to the Hepworth Wakefield Gallery that was completed earlier this year by David Chipperfield – see our earlier story.

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

Photography is by Mark Hadden.

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

See more stories about schools on Dezeen »

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

Here’s some more information provided by the architects:


Sandal Magna Community Primary School in Wakefield opened in October 2010 and recently won a RIBA Award. The new school is one of the most carbon efficient schools in the UK.

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

Sarah Wigglesworth Architects were appointed by Wakefield Council to design a replacement for the Victorian Sandal Magna Primary School, which had come to the end of its life.

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

The new building accommodates 210 pupils aged between 5-11 years alongside nursery provision for 26 children. The school also contains a community room for use by parents for adult education and other activities, and has been designed to permit expansion in the future to a 315 place school.

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

The brief called for high quality sustainable design addressing: functionality, sustainability, buildability, efficiency, aesthetics and durability.  After several site visits and meetings with Wakefield Council, the school, staff, parents, the local community and other stakeholders, Sarah Wigglesworth Architects established the following key issues which would inform the design of the new school:

    » importance of new identity for the school with a positive street presence
    » maintain a sense of history and memory (a new bell tower for the old bell)
    » provide a welcoming building for students, parents and teachers
    » site security and robustness of materials
    » scale and relationship of new building to the site
    » flexibility of spaces within the new building
    » provision of a variety of play spaces
    » importance of a community space
    » importance of energy efficiency and sustainability

 

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

The school’s design takes its cue from its vernacular surroundings, and is laid out as three parallel single storey wings that reference the surrounding pattern of terraced houses and back streets. The red brick of those terraces is also used extensively throughout the school. Along the teaching block, sturdy ventilation stacks echo the rooflines of neighbouring houses while, at the centre of the site, the school is crowned by a striking new bell tower evoking the tall chimneys of Wakefield’s industrial heritage.

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

Click above for larger image

The overall design, however, is highly contemporary. A range of cladding materials such as raw timber, weatherboarding and corrugated rainscreens is used to denote different uses within the school, and adds further interest to the sharp, angular geometries of the building.

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

Click above for larger image

Inside the school, services and building elements such as ventilation, soundproofing, sprinklers and a rainwater harvesting system are all proudly visible. This is quite deliberate: part of the brief was to make the building a demonstrative tool to form part of the curriculum for learning about buildings and sustainability.

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

Click above for larger image

Funding was secured from the former DCSF Standards Fund for a range of low carbon measures at the school. The sustainability features of the school include:

    » completely natural ventilation
    » a ground source heat pump to provide heating, hot water and cooling
    » 100 sq m of photovoltaic solar panels to power the ground source heat pump
    » a masonry structure providing thermal mass throughout the classrooms
    » reuse of reclaimed bricks from the old school in retaining walls and garden features
    » a set of allotments for pupils within the school grounds

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

Click above for larger image

A key aim of the design was to produce a safe learning environment for the pupils. The flexible classroom design and “street” layout of the school encourages different numbers and age groups of children to meet and learn together, while the main circulation space between the classrooms, ICT and library spaces is an additional learning hub. The layout avoids hidden corners and blind spots, and careful thought has been given to landscaping to provide different types of outdoor play space including areas for learning, planting, quiet zones and games. Each classroom has direct access to the outdoor playgrounds and views to the surrounding landscape.

Sandal Magna Community Primary School by Sarah Wigglesworth Architects

Click above for larger image

Sarah Wigglesworth said:

“I am so proud of Sandal Magna Community Primary School. As our first completed school it’s a milestone for our practice. In our work we strive to produce thoughtful, low-energy buildings that are simple to use, cherished by their occupants and economical to run and maintain. I hope we have achieved that at Sandal Magna and demonstrated that we can apply our architectural principles on a larger scale.”


See also:

.

Alte Schule Winterbach
by Archifaktur
College Levi-Strauss by
Tank Architectes
Sra Pou Vocational School
by Rudanko + Kankkunen

Silence by Tadao Ando and Blair Associates

Silence by Tadao Ando

Clouds of mist erupt from the base of two trees in this London water feature designed by Japanese architect Tadao Ando.

Silence by Tadao Ando

The trees sit in a raised granite-edged pool in front of the Connaught Hotel in Mayfair.

Silence by Tadao Ando

Atomisers hidden at the base of the trees create clouds of water vapour for fifteen seconds every fifteen minutes.

Silence by Tadao Ando

Glass lenses below the surface of the water contain fibre optics that illuminate the basin by night.

Silence by Tadao Ando and Blair Associates

The feature, which forms part of a wider project to upgrade the surrounding streets, was delivered in collaboration with UK architects Blair Associates.

Silence by Tadao Ando

More stories about landscape architecture on Dezeen »

Silence by Tadao Ando

Photography is by Adrian Brookes.

Silence by Tadao Ando

Here are some more details from developer Grosvenor:


Mount Street unveiling marks completion of first phase of street improvement

Grosvenor is celebrating the end of the first phase of the property company’s £10million programme to improve key streets across its London estate in Mayfair and Belgravia. The ambitious project is being undertaken in partnership with Westminster City Council.

Silence by Tadao Ando and Blair Associates

‘Silence’, a new water feature designed by the Japanese architect philosopher Tadao Ando, will be unveiled at the event. The feature was jointly commissioned by Grosvenor and the Connaught hotel. The street improvements are based on the understanding that the space between buildings is as important as the buildings themselves. Ever-increasing traffic volume, and a mass of unnecessary signage and other ‘clutter’, have diminished the quality of London’s streets. The works aim to enhance the experience for all those who live, work and visit, particularly pedestrians. Unnecessary signage has been removed and pavements upgraded and extended, with two new pedestrian areas introduced to the street. The completion of the works on Mount Street follows a similar scheme on Elizabeth Street in Belgravia.

Silence by Tadao Ando

Commenting ahead of the Mount Street event Peter Vernon, Chief Executive, Grosvenor Britain & Ireland, said: “With over 300 years experience of managing and developing property in Mayfair and Belgravia we recognise that places are about more than buildings. The appearance of streets, and the public space around buildings, is fundamental to the long-term success of the London neighbourhoods we manage. “Large-scale works like these require a long-term outlook but we can already see the results. This is only the first phase of our programme, plans for the next wave of projects are already well underway.”

Silence by Tadao Ando

The improvements to Mount Street and Elizabeth Street were delivered through an innovative funding arrangement. Westminster City Council invested the funds need to pay for the work with Grosvenor, a long-standing property owner in the area, delivering the improvements. After five years from completion of the works Grosvenor will make a refund to Westminster equivalent to the project cost.

Silence by Tadao Ando

Cllr Colin Barrow, Leader of Westminster City Council, said: “We are delighted with the works which will bring huge improvements to this historic part of the capital. Our innovative finance agreement means significant enhancements to local streets, roads and open spaces, with the council’s initial investment being reimbursed by the land owners, who will also benefit from a boost in the value of the area in the long term. It is particularly poignant that the fountain outside the Connaught Hotel bears a memorial to Sir Simon Milton, who as Leader of the council did so much to pioneer the joint working between the private and public sector that has brought such improvements to the city.”


See also:

.

Tsunami Memorial by
Carmody Groarke
Chimecco by
Mark Nixon
Spontaneous City by
London Fieldworks

Indian Ocean Tsunami Memorial by Carmody Groarke

British architects Carmody Groarke have completed this granite monolith outside London’s Natural History Museum to commemorate victims of the 2004 Indian Ocean Tsunami.

Indian Ocean Tsunami Memorial by Carmody Groarke

The 115-tonne stone retains the ridged marks created when it was quarried in France.

Indian Ocean Tsunami Memorial by Carmody Groarke

A diagonal slice undercutting one corner reveals a polished triangular face with an embossed dedication.

Indian Ocean Tsunami Memorial by Carmody Groarke

Carmody Groarke and project managers M3 evolved the design through dialogue with survivors and bereaved families.

Indian Ocean Tsunami Memorial by Carmody Groarke

Carmody Groarke also designed a memorial to victims of the 7 July London terrorist bombings, which opened in Hyde Park, London, in 2009.

More projects by Carmody Groarke on Dezeen »
More stories about memorials on Dezeen »

Photography is by Luke Hayes.

Here are some more details from the Memorial Project Board:


Memorial to victims of Indian Ocean Tsunami opens

A memorial to the victims of the 2004 Indian Ocean Tsunami opens today in the grounds of the Darwin Centre at the Natural History Museum in London in a ceremony attended by His Royal Highness, The Prince of Wales and Her Royal Highness, The Duchess of Cornwall.

The Memorial is the culmination of years of work by Tsunami Support UK (TSUK) and was made possible thanks to a £550,000 grant from the Department for Culture, Media and Sport (DCMS).

A single granite monolith, the design reflects the views and feelings of UK survivors and bereaved families. It is the product of months of dialogue between them and the design team of Carmody Groarke and M3 Consulting.

Michael Holland, Chairman of the Memorial Project Board, said: “The 2004 Indian Ocean Tsunami was one of the worst natural disasters in living memory, hundreds of thousands of people lost their lives. The impact of the devastation was felt across the world. This huge, singular geographical fragment will create a powerful reminder for generations to come of this momentous event within the Earth’s natural history. Its purpose is to stop people forgetting. Within this new public space, the Memorial also offers a place for more quiet contemplation.

“We are immensely grateful to the DCMS for funding the memorial and to the Natural History Museum for making space available in its grounds – we can think of no better place to remember the lives of the UK family members and the over 225,000 others who perished in the Tsunami.”

Kevin Carmody and Andy Groarke of Carmody Groarke said: “It has been a huge privilege to work with the survivors and bereaved families to design a permanent memorial in such a significant public space. Our collective intention is to make a fitting, engaging and unique Memorial – a place for contemplation and remembering for generations to come. Our goal was also to give the Memorial stone a strong architectural relationship between the bold buildings and landscape of the Natural History Museum.”

Dr Michael Dixon, Director of the Natural History Museum, said: “It is fitting that the Natural History Museum is home to this impressive new Memorial. An important part of our mission is to make sense of the natural world and I hope this Memorial will not only bring comfort to those who lost loved ones in the Tsunami but also be a reminder to us all of the powerful and sometimes destructive force of nature.”


See also:

.

7 July Memorial by
Carmody Groarke
Memorial Blocks Berlin
by Daniel Clements
Island of Memory by
Britton Chambers

Serpentine Gallery Pavilion 2011 by Peter Zumthor photographed by Hufton + Crow

Serpentine Gallery Pavilion 2011 by Peter Zumthor

Here are some more photographs of Peter Zumthor’s recently-opened Serpentine Gallery Pavilion in London, taken by UK photographers Hufton + Crow.

Serpentine Gallery Pavilion 2011 by Peter Zumthor

The black-painted pavilion surrounds a planted garden by Piet Oudolf.

Serpentine Gallery Pavilion 2011 by Peter Zumthor

Visitors enter through a dark corridor between the outer walls.

Serpentine Gallery Pavilion 2011 by Peter Zumthor

Long benches line the inner courtyard and cafe-style furniture provides additional seating, although there isn’t a cafe.

Serpentine Gallery Pavilion 2011 by Peter Zumthor

Facing the central strip of planting, this seating is sheltered by an overhanging canopy.

Serpentine Gallery Pavilion 2011 by Peter Zumthor

The pavilion has a timber structure covered in gauze and is coated in black adhesive.

Serpentine Gallery Pavilion 2011 by Peter Zumthor

It opened on Friday in Kensington Gardens, Hyde Park.

Serpentine Gallery Pavilion 2011 by Peter Zumthor

The structure remains open to the public until 16 October.

Serpentine Gallery Pavilion 2011 by Peter Zumthor

More information and images by Walter Herfst can be seen in our earlier story.

Serpentine Gallery Pavilion 2011 by Peter Zumthor

Watch Zumthor talking about the pavilion and his work in our interview on Dezeen Screen.

Serpentine Gallery Pavilion 2011 by Peter Zumthor

See more stories about the Serpentine Gallery pavilions on Dezeen »

Serpentine Gallery Pavilion 2011 by Peter Zumthor

See all of our stories about Peter Zumthor »

Serpentine Gallery Pavilion 2011 by Peter Zumthor

More pavilions on Dezeen »

Serpentine Gallery Pavilion 2011 by Peter Zumthor

Dezeen’s top ten: parks and gardens »

Serpentine Gallery Pavilion 2011 by Peter Zumthor


See also:

.

Serpentine Gallery Pavilion
by Peter Zumthor
Dezeen Screen: interview
with Peter Zumthor
Serpentine Gallery
Pavilions archive

Folly for a Flyover by Assemble

Folly for a Flyover by Assemble

Non-profit organisation Assemble have constructed a temporary canal-side cinema under a London motorway flyover.

Folly for a Flyover by Assemble

Folly for a Flyover was assembled by a team of volunteers over the course of a month, using reclaimed and donated materials.

Folly for a Flyover by Assemble

It remains in place for six weeks, staging a series of movies and performances as part of the Create festival.

Folly for a Flyover by Assemble

Built from bricks of clay and wood and supported by scaffolding, the structure encloses a cafe, bar and cinema stalls.

Folly for a Flyover by Assemble

Visitors can also take trips to the nearby Olympic site aboard rowing boats and canoes that depart from a wooden jetty on the canal bank.

Folly for a Flyover by Assemble

More stories about pavilions on Dezeen »

Folly for a Flyover by Assemble

Photography is by Assemble.

Folly for a Flyover by Assemble

Here are some more details from Assemble:


Folly for a Flyover

On 24th June, a building will appear in the gap between the east and westbound traffic of the A12.

Folly for a Flyover by Assemble

Transforming the cavernous undercroft where the motorway crosses the Lea Navigation Canal, Folly for a Flyover will host a six week programme of waterside cinema, performance and play.

Folly for a Flyover by Assemble

Hand-built with local, reclaimed and donated materials, the Folly draws influence from the surrounding red-brick buildings of Hackney Wick, posing as an imaginary piece of the area’s past, a building trapped under the motorway.

Folly for a Flyover by Assemble

By day the folly will host a café, workshops and events and boat trips exploring the surrounding waterways.

Folly for a Flyover by Assemble

At night there will be screenings ranging from animation classics to early and experimental cinema with live scores, light shows and performances.

Folly for a Flyover by Assemble

Like a giant construction-kit, the folly will be built over the period of a month by a team of volunteers.

Folly for a Flyover by Assemble

Having served one purpose it will be disassembled at the end of the summer, and the compents will find new uses across the local area.

Folly for a Flyover by Assemble

Click above for larger image


See also:

.

Mobile performance venue
by Various Architects
Nomad by
1/100
Summer Theatre by
Kadarik Tüür

Centre for Scottish War Blinded by Page\Park

Centre for Scottish War Blinded for Page \ Park Architects

Scottish architects Page\Park have completed a centre for blinded sailors, soldiers and airmen in Wilkieston, Scotland.

Centre for Scottish War Blinded for Page \ Park Architects

The single-storey Centre for Scottish War Blinded curls around the site and has an undulating zinc roof, inspired by a sculpture of a dragon found in the charity’s existing facilities.

Centre for Scottish War Blinded for Page \ Park Architects

Located on an adjacent site, the new day care and rehabilitation centre replaces the old buildings and includes a workshop, art space, training areas, a gym, therapy spaces and administration as well as a remembrance room and sensory garden.

Centre for Scottish War Blinded for Page \ Park Architects

Photography is by Andrew Lee.

The following information is provided by the architect:


Scottish War Blinded was founded in Edinburgh in 1915 with the object of caring for Scotland’s sailors, soldiers and airmen and women who were blinded in the service of their country. With the organisation now taking in a higher number of veterans of more recent conflicts, the Scottish War Blinded recognised that a new facility was required so that the scope and quality of the services they offer could be improved.

Centre for Scottish War Blinded for Page \ Park Architects

Their new 750m2 facility is located on an inspiring site at Linburn, West Lothian and replaces the charity’s 1950’s facility which occupied an adjacent site. The scheme takes inspiration from a hand-carved Chinese celestial dragon memorial sculpture which was housed in the display room of the previous facility. This inspiration manifests itself in the sweeping and twisting geometry of the building’s undulating zinc roof.

Centre for Scottish War Blinded for Page \ Park Architects

The building operates as a day care centre and offers a comfortable and sociable environment whilst also providing rehabilitation and life skills assistance for ex-servicemen and women suffering from visual impairments. Facilities include a workshop, art space, training areas, a gym, therapy spaces and administration as well as a remembrance room. A terrace and landscaped sensory garden to the south of the building is also provided for recreational use in addition to education. The shifting demographic of users that the organisation now supports has influenced this broad mixture of activities.

Centre for Scottish War Blinded for Page \ Park Architects

The building harbours a strong focus on internal flow, with a mainly open plan arrangement fed by one, generous circulation spine. The accommodation is organised so that the circulation and larger spaces are placed near the external walls, while smaller, ancillary spaces requiring enclosure, privacy and acoustic insulation are placed in ‘pod’ elements nearer the centre of the plan. The organisation of the building aims to be as simple as possible so that the users can easily form a mental picture of the building, thus allowing straightforward navigation. In addition, bold gestures (both architecturally and through the use of colour) are made at doorways and changes of direction to further assist building users’ wayfinding.

Centre for Scottish War Blinded for Page \ Park Architects

The curving geometry has been formed by the use of steel portal frames set out on a radial grid and in-filled with cold rolled purlins. The twists and sweeps of the geometry have been formed by gentle facets, with the steel frame only including two relatively short curved structural members. A restrained palette of materials are used throughout the building to clad the steel structure beneath. The roof is formed in zinc strips with the external walls clad in timber panels set out alongside large glazed openings. Internally, the ‘pod’ type spaces are picked out in oak and detailed to sit like pieces of furniture under the large twisting roof.

Centre for Scottish War Blinded for Page \ Park Architects

Inclusive Design

Given the nature of the Client, inclusive design was at the forefront of our thoughts from the very start. With the building users having visual impairments of varying degrees, in addition to many of the users being elderly, careful consideration had to be given to a number of key areas of the scheme. As a team we had to go much further than simply meeting the DDA requirements. Advice was received from Adapt Access Services in addition to members of the War Blinded Client group.

Centre for Scottish War Blinded for Page \ Park Architects

Click above for larger image

Firstly, the building and surrounding garden are all on one level so as to allow full access to wheelchair users. In addition to this, there are ultra low-profile thresholds throughout the building so as to avoid any potential trip hazards.

Centre for Scottish War Blinded for Page \ Park Architects

Click above for larger image

Inside the building, the primary circulation route is a generous width and has a continuous handrail down one side to provide support where required in addition to acting as a guide to the visually impaired. Where access to rooms occur off this corridor, bold gestures have been made at these locations both in the layout and in terms of the colours used on the walls.

Centre for Scottish War Blinded for Page \ Park Architects

Click above for larger image

By studying the Light Reflectance Values (LRV) of each of the finishes (floors, timber panelling, door laminate, ceiling), this allowed us to carefully select the colours of the painted slots at these access points so as to provide sufficient visual contrast.

Centre for Scottish War Blinded for Page \ Park Architects

Click above for larger image

Green Credentials

From the onset the design of the new centre for the Scottish War Blinded was based on sustainable principles. Natural ventilation is utilised in the majority of the spaces and heating is supplied from a ground source heat pump. In order to minimise energy requirements, high levels of insulation and air tightness have been designed in to the building envelope. In addition, carefully controlled amounts of glazing have been provided, balancing the need for pulling light deep in to the plan with the need to control glare and solar gain / heat loss.

Centre for Scottish War Blinded for Page \ Park Architects

Click above for larger image

Method of Procurement: Traditional SBCC
Value: £2.4 million
Planning Granted: October 2009
Site Start: January 2010
Project Completed: January 2011
Location: Wilkieston, Kirknewton
Key Design Features: Sweeping zinc roof, Curving geometry, Designing for the sensory impaired
No.of Floors: 1
Funding: Solely funded by the charity, Royal Blind / Scottish War Blinded
Client: Scottish War Blinded

Centre for Scottish War Blinded for Page \ Park Architects

Click above for larger image

Page\Park
Project Architect Jamie Hamilton
Director Karen Pickering
Partner David Page
Structural Engineers: SKM Anthony Hunt, Douglas Walker
M&E:Harley Haddow, Chris McLaren
QS: NBM, Bryan Houston
Landscape: Ian White Associates, Sam Shaw
Contractors: Main -Brown Construction, Grant MacIntosh

Centre for Scottish War Blinded for Page \ Park Architects

Click above for larger image


See also:

.

Lalìn Townhall by
Mansilla+Tuñón
Mensa Triangle
by SOMAA
Rolex Learning Centre
by SANAA