Paradise Street located in the Duke Street Conservation Area of Liverpool City centre, Architects Liverpool. This building is bounded by the two streets to north and south east.
Placed between two exuberantly Edwardian neighbours, with three major bay windows, the building celebrates views from the east . The boundary envelope is patterned with a repeated frame enriched with deep mullions and transoms and interspersed with jewel like elements which respond to the heights and features of the surrounding architecture. These elements also express the entry, uses and opportunities of the building. The elevations to Hanover Street and School Lane wrap around the acute site corner on a single radius to effectively form one continuous elevation.
It's a commercial building consisting of a basement and five upper floors. Basement, ground, first and second floors include a mix of retail, beauty salon, leisure, education and office uses. The third to fifth floor are for office use.
Lymm Water Tower, Architects Cheshire, is a celebrated and unique home that has won numerous awards following its renovation by the current owners. 6127 square feet of luxury living accommodation; offering the most tremendous, panoramic views of Derbyshire, Cheshire, Lancashire and North Wales.This Cheshire architecture has been finished to the highest of standards with seamless white resin flooring.
Changes of level in the open plan living area have been used to create defined spaces, whilst enhancing the minimalist look. The arrangement of rooms on the ground floor ensures they receive maximum exposure to daylight, as the sun tracks from one side of the tower to the other.
The property is accessed via electric oak gates onto a gravelled driveway with ample parking and a car port. There is a delightful breakfast terrace adjacent to the Japanese Koi pond which catches the earliest of the morning sun. The rear garden is lawned with good sized paved area overlooking the open countryside; making it a perfect spot for alfresco dining.
Little Moreton Hall belonged to the Moreton family, a family that grew immensely rich by taking full advantage of social and religious upheavals of their times. With the decrease in population during the Black Death (1348) much land was placed on the market and was purchased cheaply by the Moretons. They were staunch loyalists and eager tax collectors for the reigning monarch. During the reign of Queen Elizabeth the family owned a vast area of land.
The earliest part of the building is the Hall which probably dates from around the middle of the 15th century and was built by Sir Richard de Moreton and the kitchen area was built around 1480 by William Moreton.
The building was extended and improved by William Moreton II (d. 1563). It was during his lifetime that the east wing of the building was rebuilt and extended by the addition of a Withdrawing Room and Chapel. It was also during his lifetime that the five-sided bay windows were made. There is no doubt about who made them as the carpenter Richard Dale inscribed his name on the frieze. The inscription reads as follows:
"God is Al in Al Thing: This windous whire made by William Moreton in the yeare of Oure Lorde MDLIX Richard Dale Carpeder made thies windous by the grac of God."
It is interesting to note that the building and extensions to the property span the pre-Reformation and post- Reformation periods. Work was carried on during the reigns of Henry VII and Elizabeth. It is therefore also pre- Renaissance and Renaissance. Signs of the Renaissance influence can be seen in the decoration and in the Elizabethan fireplaces. However, the building is definitely medieval in character.
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Little Moreton Hall is open to the public from April to December each year. The ground floor of the west range has been remodelled to include a restaurant, tearoom and a gift shop. Services are held in the Chapel every Sunday from April until October. The National Trust offers evening ghost tours around the house each Halloween. In common with many other National Trust properties, Little Moreton Hall is available for hire as a film location; in 1996 it was one of the settings for Granada Television's adaptation of Daniel Defoe's Moll Flanders.
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This year, is the 300th birthday celebrations of Art at the Heart of Bluecoat, an exhibition charting the history of art and artists in the Bluecoat building. The popular heritage display continues with an additional focus on the building’s architectural developments. Archival materials - drawings, plans and photographs - explore Bluecoat as home for a school of architecture, post-war renovations, Biq Architecten’s 2008 scheme, and artists’ architectural interventions. All of this, accompanied by a display of University of Liverpool architecture students’ responses to the building.
The building has been open in 1717 but the connection with art and artists begins much later, in 1906, when the school who had inhabited the building moved out to larger premises in Wavertree. Within a year, a group of practicing artists moved in and established a creative hub. A hub which is still thriving today and has become a key player in Liverpool’s contemporary art scene.
With broad brush strokes the story of art and artists who have visited Bluecoat, developed and then grown into key influencers across a range of art forms is painted. Claiming that Bluecoat was the “UKs first arts centre housing: visual and performing arts; social and educational events; and working studios for artists, designers, architects and cultural societies.”
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Adress: Pier Head, Liverpool, Merseyside, L3 1DG
The Museum of Liverpool is the world’s first national museum devoted to the history of a regional city, is due to open on 19 July 2011. The £72m building is the largest national museum to be built in Britain in more than 100 years. Work on constructing the museum began in April 2007.
More than 6,000 objects bring Liverpool’s incredible heritage to life, celebrating thousands of years of the city’s achievements.
A spiral staircase dominates the centre of the museum. The museum has 8,000 square metres of public space across three floors containing four main galleries. The museum will open in several stages, initially with three galleries: Wondrous Place, The People’s Republic and Global City.
Hop on board the overhead railway, get up close to the stage where John Lennon and Paul McCartney first met, immerse yourself in the city’s rich sporting and creative history and experience for yourself what it means to be Liverpudlian. Don’t miss the 360º immersive films about Liverpool, Everton FC and The Beatles!
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Is this bed actually floating? No, it's just a clever optical illusion, but it looks great and with lighting included, really looks minimal and stunning! With heritage roof beams and textural walls in place, nothing else is needed here and it still looks wonderfully usable and chic!
Bedroom that will make you feel at peace
One thing many people think about in zen culture is using wood and stone. These materials add a natural element to the room, integrating the outside with the interior. Zen is the idea of getting back to basics and being one with the world, so naturally these elements play a big part in zen design. This room incorporates wooden ceiling beams with stone walls to create a very natural environment. The white dividing wall, which so graciously incorporates the wooden beam, breaks up the bathroom, which is designed in marble. The floating bed and shelves are made up of wood, matching the two steps and door. Bright sunshine makes its way through and enlightens this beautiful minimalist bedroom.
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The brief for the projet was to renovate the areas of the building that had become run down, make sense of these disparate parts and bring them all together as a unified whole, and create light filled spaces that function as a modern home with all the accommodation requirements this entails, plus a section of the house capable of functioning as a separate flat for another family member.
In order to understand the historic elements more clearly, site investigation work was undertaken to discover what was original and what had been rebuilt, what was in good condition and what was not. Advice was sought from the local authority conservation officer as to what their objectives would be for the remodelling of the buildings.
The exhibition & artists
Susan Hefuna’s new work ToGather, on display at the Whitworth until 3 September, addresses some of the most potent issues of our time: migration, movement and sensations of togetherness. Susan has worked on ToGather with 30 individuals from refugee and asylum-seeker backgrounds who have ade Manchester their home. The focal point of today’s event is a series of performances, for which members of this group will trace individual paths through Whitworth Park. They will be joined by dancers from Studio Wayne McGregor, who have used the group’s stories as inspiration, and accompanied by a new score from Scanner International Magic will use data from choreography to create a unique digital moving image of dancers’ footsteps, which you can see in the gallery and at togather.mif.co.uk.
This exhibition brings together Susan Hefuna’s drawings, photographs and sculpture from the past 20 years with a new performance and digital commission created for the Whitworth and the Manchester International Festival (MIF) for Sunday 9th July.
All the works here connect to Hefuna’s personal experience of living between different cultures. She was born to a Catholic German mother and a Muslim Egyptian father, grew up in Egypt and moved to Germany at the age of six. Throughout the exhibition, objects that originate from each of these cultures are re-presented. The piled palmwood structures are afaz – The Arabic word for cage.
Although they resemble minimalist sculpture, to visitors familiar with Egypt, these structures are the stuff of everyday life. Palmwood baskets proliferate in the streets of Cairo as containers tables, chairs and surfaces. The mashrabiya screen is also foregrounded in this exhibition. A carved wooded screen, with its origins in ancient architecture, it sits in the window space of a building. It resembles a latticework with multiple openings through wich air can flow and light can be filtered – a prototype air-conditioning that also allowed woman to sit inside and look out while being protected from view.
Initially the patterns of the mashrabiya in Hefuna’s work were understood as a form of abstraction; it was only when she had her first exhibition in Egypt that the audience recognised their origin.
All of Hefuna’s work uses layering. In her drawings this is literal, they are created by layering two works; the first is drawn on paper, and the second, always on transparent paper laid directly over the first, is made immediately on the basis of the one beneath. In every other work the layering is present in the veiling and revealing of different meanings and contexts one on top of the other. Although the result is always beautifully simple and clear it is the outcome of years of thought and making that seeks to reveal the essence of an idea or experience.
Vertigo Sea is a three screen film installation that reflects on humankind’s relationship to the sea. Part fiction, part natural history documentary, it fuses archival footage with newly shot material and readings from classic literature. This produces a form of vertigo, a disorienting loss of the viewer’s bearings in the face of images and sounds drawn from different times and contexts.
Akomfrah describes the film as a eulogy commemorating lives lost at sea. The aulogy describes the current crisis of migrants risking their lives to reach Europe, the history of the transatlantic slave trade and the impending ecological catastrophe of global warming. It brings together documentary footage, drawn largely from the BBC, with newly filmed narrative of the black eighteenth-century explorer Olaudah Equiano, a former slave and abolitionist, who, after purchasing his freedom, sailed the world. Scenes of extreme loss and cruelty including migrants crossing seas, shackled slaves in a ship’s holdn the slaughter of whales and hunting of polar bears, are set against a soundtrack of readings including Herman Melville’s Moby Dick (1851) and Heathcote William’s epic poem, Whale Nation (1988). The resulting film is a highly affecting meditation on our psychological and physical experience of the sea.
Southport architects and others around the UK are sure to be interested in a new type of house that’s just been designed and which features something the creator has dubbed liquid engineering, where water is trapped inside steel and glass panels to make up the structure of the building.
The brainchild of Hungarian architect Dr Matyas Gutai, the design is intended to help keep the house cool during the summer and warm throughout the winter, an eco-friendly move that Dr Gutai believes will reduce energy bills by up to 20 per cent, the Daily Mail reports.
Apparently, as the steel and glass panels are quite lightweight, they can be fitted together so that they are all connected and then, once in place, the panels are filled with a thin layer of water that makes its way across the walls, floor and roof. Because everything is connected, heat from one part of the house is distributed around the rest of the building.
“Instead of insulating the buildings, you have a structure that absorbs energy and reuses it for later. You can have a sustainable house without any insulation at all,” the inventor was quoted by the news source as saying.
Dr Gutai is the founder of Allwater, a group that strives to be innovative in the realms of design, structure and building, whether this be on a housing project, a pavilion or a public building. Allwater Panel technology is also being used for a rooftop extension on a building in Budapest to help provide the city with more rooftop terraces.
The Lowry Centre was designed by architects James Stirling and Michael Wilford in 1997 and was completed in 2000. The building is situated on a large site at Pier 8 in Salford Keys, Manchester. The aim of the project was to raise the cultural profile of the city and bring more visitors and business.
The foundations consist of 803 concrete piles sunk down into the bedrock and the whole build is constructed from 48,000 tons of concrete, 2,466 tons of steel and 5,263 square metres of glass. Its exterior presence is made of up geometric shapes and a combination of materials which together signal a maritime theme. When viewed from across the canal the building looks like a ship blending into the skyline. Porthole windows are included in the exterior design. This is a prime example of innovative modern architecture. The design reflects the historical significance of the transport links between Liverpool and Manchester via the ship canal.
The Lowry building sits very comfortably in its surrounding environment. The sleek lines of the glass and steel as well as the metallic surfaces that layer round the building reflect the cool colours of the sky and water. The promenade that runs all around the building unites all these design elements as well as providing access to all parts of the building. The building is complex and exciting and serves the purpose of good urban design. Sculptural qualities are created from the fragmented architectural collage of materials, overall producing a fantastic piece of art. The ship like theme is continued through to the interiors with large dominating shapes of the walls and different levels to explore. As you enter, the purple and blues of the exterior transform into the warm red and orange tones of the interior walls. The spaces are defined by colour which contrasts to the steel and floor to ceiling glass panels. When the light changes the colours from the interiors radiates back out through the exterior giving off a subtle glow. The use of bright, defined colours flood the traditional theatre and gallery spaces which gives a modern edge on a traditional setting.
The Lowry hosts numerous facilities such as a theatre, studio, gallery, café and shop. The building is a hub for cultural and artistic practices. The Lowry has provided a place in a modern city where multi-functional events can occur and offer people new experiences.
If you’ve been reading the news recently, you’ve probably heard the term ‘defensive architecture’ – but what exactly is this and what does it mean for our towns and cities in the future?
Manchester architects (Cheshire) will tell you that defensive architecture is the modification of public spaces and buildings to discourage people from loitering. No doubt you’ve heard of the homeless spikes that have been cropping up in various places around the UK over the last couple of weeks – last month, for example, department store Selfridges installed some of these outside its flagship branch in Manchester, a move that attracted criticism from charities such as Crisis.
And in the summer of last year, 17-inch anti-homeless spikes appeared outside a London apartment block to prevent people from sleeping in the doorways, although these have since been taken down following a petition signed by nearly 130,000 people calling for their removal.
This is perhaps one of the more extreme defensive architecture measures, but other steps include slanting windowsills to prevent people from sitting down, sprinklers that come on randomly even when there’s nothing there to water and benches with armrests that mean it is impossible to fully recline.
Guardian writer Alex Andreou recently took issue with these architectural defences, saying: “It reveals how corporate hygiene has overridden human considerations, especially in retail districts. It is a symptom of the clash of private and public, of necessity and property.”
From an aesthetic point of view, this form of architecture may well deter homeless people from spending time in various parts of any given city, but at the same time the appearance of urban areas is hardly enhanced by their introduction in the first place. They make towns and cities seem unwelcoming and hard, with homeless people conveniently hidden out of sight.
To see more types of defensive architecture on film, visit the Dismal Garden blog of UK artist Nils Norman, where you can find hundreds of photos of the different measures towns and cities are using to keep loiterers at bay. Where do you stand on this type of architecture? Let us know in the comments below.
London could benefit from more than one million new homes over the next ten years if it underwent a programme of densification.
If this was rolled out in other areas across the country, it could be particularly good news for architects in Manchester and other major UK cities.
This is according to London First and estate agent Savills’s report named Redefining Diversity, showing house building could be expanded to take advantage of several areas of the capital with low housing density.
Susan Emmett, Savills’ director of residential research, said: “The opportunities to ensure that London is getting the most out of the development process are considerable, especially in the outer boroughs.”
The report highlights the importance of quality design features to make more efficient use of land.
It shows if housing density increased, the capital could see 52,000 new homes per year and meet its current targets for newbuild properties.
This comes as Prime Minister David Cameron stated new homes could be developed on publicly-owned land, instead of selling this off to developers.
The government is currently developing Northstowe in Cambridge to sell homes on the open market, with this model potentially being rolled out nationally to boost profits for the country.
Mr Cameron asked: “Is it not time to cut out the middleman?”
However, Planning Officers’ Society spokesman John Silvester pointed out that doing this requires reliance on an implementation agency. For instance, the government is using the Home and Communities Agency to plan and commission the new homes at the Northstowe site.
Architect Richard Rogers is renewing attempts to have Robin Hood Gardens – a residential estate in east London designed in the 60s by Alison and Peter Smithson – listed, writing to some 300 leading professionals in the construction industry to ask them to lend their support to the campaign.
According to Architects Journal, the listing recommendations for the site could be put before Tracey Crouch, new heritage minister, by today (June 19th), although it’s possible that the campaigners may have time to drum up even more support as Historic England is still to submit its report.
“Last time listing was considered the views of the architectural community were ignored but we believe there is now a real chance of saving the building for posterity but only if the minister hears, first hand, the views of the profession on the architectural merits of these exceptional buildings,” Mr Rogers said.
Back in 2008, a campaign was launched by the Twentieth Century Society and Building Design magazine to have the estate listed as a historical landmark but English Heritage did not back the idea because it failed to meet criteria for listed post-war buildings.
Completed in 1972, Robin Hood Gardens features two concrete blocks that serve as very effective noise barriers against the Blackwall Tunnel, a landscaped garden at street level that separates the concrete blocks and the acoustic walls. Sadly, the garden – which the architects imagined would operate as places where people could come and relax – became a hotbed for criminal activity instead.
Stockport architects and others – do you support the campaign to have Robin Hood Gardens listed? Let us know.
Architects in Stockport are no doubt aware of the shining examples of architecture in their home towns – but what are the best buildings to be found in England? Of course, it’s all rather subjective but we thought we’d feature some of our favourites here on the Andrew Wallace Architects blog.
This stunning building has been around since the 960s and has been thoroughly spoiled by various monarchs over the years. It’s set the standard for architecture in the country for centuries and is an absolute must-see for any architecture student who feels the need for a bit of inspiration in their own work.
A far cry from Westminster Abbey but a beautiful building in its own right. The mill says it all about the industrial revolution, really – it was built in 1801, with the company’s mills the first in the country to be powered by steam instead of waterwheels.
Dean Aldrich’s courtyard at Christ Church (built between 1707 and 1714) was constructed to play host to Oxford’s undergrads and is one of the first examples of how architects became suddenly obsessed with creating structures that stuck to the Roman methods of architecture. If you’ve not seen it yet, you must.
A fine example of Brutalism, the Southbank Centre has as many fans as it does enemies. Oft referred to as a car park, the building is in fact very imposing and quite complex to look at. Plus there’s an amazing view of the Thames if you’re up in the Skylon restaurant, which is always a bonus.
Architects in Southport will no doubt be interested to read some of the ideas that their peers have come up with to help address the housing crisis in London, with the aim in mind being to find innovative ways of increase the housing density without affecting quality of life.
Think-tank New London Architecture (NLA) collected 100 ideas from architects around the UK, as part of the group's plans to find a way to construct 440,000 new properties in the capital. In all, ten of the ideas will be shown to mayor of London Boris Johnson and later considered by town planners working on changing London in the future.
Ideas include constructing entire neighbourhoods - including cafes, offices and schools - on current docks and rivers, putting houses on top of public buildings like libraries, schools and hospitals, and new properties constructed in the back gardens of town houses that have more space than they need.
However, some believe that the best solution would be to build on the outskirts of the capital to create a mega city alongside the M25 so more people can share in the prosperity of this part of the UK.
NLA's core mission is to bring Londoners and others together to help create a better city, serving as an independent forum for debate, discussion and information about planning, development, architecture and construction in London.
Those interested can visit the NLA galleries that depict the story of the development of the capital through permanent and changing exhibitions. They're open six days a week and are free to enter.
Architects in Bury and elsewhere in the UK may be interested to go on a new tour of the UK being launched by the National Trust to celebrate Brutalist buildings in the country.
Dubbed Brutal Utopias, the project will feature behind-the-scenes tours of numerous buildings in cities across the UK, including the University of East Anglia, Park Hill flats in Sheffield and London's Southbank Centre.
In addition, guided tours will also be put on around London on board the organisation's 1962 Routemaster Coach with cultural and architectural experts charting the visions and outcomes of this particular building style.
In a statement, the Trust said: "Love it or not, brutalism was the dominant post-war architectural movement that sought to offer the best of design to the masses through public housing schemes, new universities and venues for the arts and education that were accessible to all."
The project starts on September 25th, with other sites due to be explored including Hayward Gallery, Purcell Room and the Queen Elizabeth Hall.
On September 30th, there is also a talk being put on exploring Brutalism and asking questions such as can the style ever be beautiful and what particular architectural sites should we be protecting.
The Brutalist movement flourished between the 50s and 70s, with typical examples of this particular style featuring exposed concrete, or combinations of brickwork and concrete. It was particularly popular for university buildings, shopping centres and high-rise blocks of flats - but many buildings in this style have attracted criticism over the years.
Warrington architects will no doubt be interested to learn that this year’s Carbuncle Cup Award goes to the Walkie Talkie, a skyscraper in the City of London that has had rather a chequered history since it was completed in April last year.
The 37-storey office block came under fire in 2013 for melting rather expensive cars on the streets below by reflecting light during the summer.
According to the BBC, Jaguar driver Martin Lindsay returned to his car after a two-hour absence to find that the badge and wing mirror had melted.
And at the start of this year, the roof garden at the top of the building – the highest to be found in the capital – was panned by critics who said it doesn’t constitute a proper public space, with the Guardian’s Oliver Wainwright describing it as “being in an airport terminal”.
Organiser of the Carbuncle Cup Thomas Lane said that the skyscraper “crashes into London’s skyline like an unwelcome party guest”.
The editor of Building Design magazine said it’s difficult to find someone in London who has anything nice to say about the Walkie Talkie – or 20 Fenchurch Street as it’s officially known – at all.
Other contenders in this year’s Cup included Woodward Hall in north-west London, Southampton City Gateway, Parliament House, some student halls in Cambridge and a YMCA building.
Previous winners of the wooden spoon award include Liverpool’s ferry terminal, the Strata Tower in Elephant and Castle, the Cutty Sark renovation and flats above a Tesco shop in Woolwich.
Macclesfield architects could soon see one of their own gracing the sides of the new £20 banknote, due to come in sometime within the next three to five years, with a new debate now being sparked as to who should have the privilege of being featured.
Members of the public are now being asked by the Bank of England to nominate their favourite architects, designers, painters, photographers and filmmakers, one of whom will be chosen to replace economist Adam Smith.
“There are a wealth of individuals within the field of visual arts whose work shaped British thought, innovation, leadership, values and society and who continue to inspire people today. I greatly look forward to hearing from the public who they would like to celebrate,” Mark Carney, governor of the Bank, said at the launch of the nominations period at the Victoria & Albert Museum in London this week (May 19th).
You have until July 19th to make your nominations and can do so via the Bank of England website – simply enter the name of the person you’re nominating and explain why you’ve chosen them in no more than 100 words. Fictional or living characters are not allowed, so bear this in mind when coming up with your own shortlist.
We’d love to know who you’d choose to put on the £20 so drop us a line in the comments box below. Don’t forget to tell us why you’re nominating that particular person – hopefully we’ll get a bit of a debate going!
A new campaign has been launched by the Royal Institute of British Architects (RIBA) to draw attention to issues in the built environment, including developing flood-proof communities, building good quality homes, providing energy-efficient buildings and addressing the state of school buildings in the country – a scheme that any Manchester architect may like to get behind.
Dubbed #BuildaBetterBritain, the initiative is calling for the government to ensure that homes are built that people actually want to live in. In all, 300,000 properties must be built each year, with 1.5 million new homes required during the next parliamentary term.
Additionally, the government needs to look at how it can adapt to meet the needs of our ageing society and help promote healthier lifestyles by creating houses that are more suited to older people. Downsizing with a focus on walking and cycling are possible ways of going about this.
According to RIBA, about 5.2 million homes are at risk of flooding, so the campaign is calling on the government to construct flood-proof communities and give local authorities greater power in order to block any developments in places that are particularly vulnerable.
Work is already being done in this regard, with the government announcing in December last year that a six-year £2.3 million flood defence programme will be initiated in order to protect farmland, businesses and homes from Lancashire to Essex.
“The built environment is vital to the financial and social success of our communities and country and the health and wellbeing of its inhabitants. RIBA’s clear priorities for the next government, set out in the Building a Better Britain report, is the basis for this campaign,” Stephen Hodder, president of the organisation, remarked.
As award-winning architects in Manchester, AWA understands the importance of sustainability in modern design. And it appears we're not alone, with the Committee on Climate Change (CCC) recently calling on the government to put environmental issues first when constructing new-builds.
The CCC made a number of recommendations in a new progress report that highlighted the dangers of ignoring energy efficiency measures. One of the key suggestions was the development of new infrastructure that helps tackle encroaching climate change.
Measures that could affect interior designers in Bury and across the UK included the introduction of standards to enable passive cooling in existing structures and the prevention of overheating in future projects.
A zero-carbon homes standard is crucial, the CCC said, provided the policy is not further weakened. The committee also urged the government to consider how the increased risk of flooding spurred by climate change could have an adverse impact on the country's homes and businesses.
Julie Hirigoyen, chief executive of the UK Green Building Council (UKGBC), welcomed the CCC's advice. She said the government seemed to recognise the importance of reducing emissions in a cost-effective manner.
"No sector provides a better opportunity to do this than buildings, in which energy efficiency can stimulate economic activity, lower bills and strengthen our energy security," Ms Hirigoyen added.
However, the CCC report also noted that efforts to boost sustainable building are currently flagging. Ms Hirigoyen stated the government must follow the committee's advice and implement an action plan that prioritises energy efficiency in homes, while protecting buildings from climate change.
A new exhibition that Warrington architects and others around the UK might like to visit is Designs of the Year 2015, on at the London Design Museum between March 25th and August 23rd.
Now in its eighth year, the awards are intended to celebrate design that perfectly encapsulates the year in question’s spirit, extends design practice, enables access or delivers change, with 76 nominees over six categories – architecture, digital, fashion, graphics, product and transport.
This year’s nominees in the architecture category include the Arena do Morro, a community sports centre for a town in Brazil, the Desert Courtyard House (a home made out of desert soil), Foundation Louis Vuitton, a brick-clad school for children under the age of six, a school with open spaces specifically designed with nature in mind, House for Trees (a scheme intended to bring trees back to urban areas) and One Central Park, an apartment block with vertical gardens.
The judges this year include Hilary Alexander (former fashion director of the Daily Telegraph), Alexis Georgacopoulos (director of ECAL – University of Art and Design Lausanne), influential sculptor Anish Kapoor, architect Farshid Moussavi and Land Rover’s design director and chief creative officer Richard Woolley.
Other exhibitions on at the museum that you might like to have a look at before heading home include the Design Museum Tank, a pop-up glass installation space on Riverside Walk outside the museum that features different Tank displays during the day and night. At the moment, it is the Design Ventura Tank, which features ten ideas from students aged between 13 and 16 relating to the theme of ‘connect’.
Warrington architects and others around the UK might want to take note of a new report suggesting how the face of British architecture will change over the coming years, with high rise farms and floating cities predicted to take centre stage in the future.
New research from a think tank made up of Linda Aitken, Toby Burgess, Arthur Mamou-Mani and Dr Rhys Morgan of the Royal Academy of Engineering suggests that underground basements will become a reality as people seek to create additional space, the Independent reports.
“We may need to create floating conurbations on major rivers or even out to sea. And how we grow and access food, incorporating urban farming into the built environment, as well as harnessing natural energy sources, will result in dramatically different streetscapes and skylines," Linda Aitken remarked.
The study found that 41 per cent of people expect that super-deep basements will become a staple part of the hidden landscape, although one in four would prefer to see floating cities become a reality.
Other architectural advances expected to come to the fore include 3D printed homes, spaceports to Mars and the moon, and rooftop farms. The research was commissioned to mark the start of UKTV’s Impossible Engineering series, which will look into possibilities such as magnetic levitation trains and tubular skyscrapers.
The six-part series will look at how trains, planes, ships and giant structures around the world are built and how they operate. The first episode focuses on aircraft carriers, starting with William Beardmore’s HMS Argus, which was built back in 1918.
Architects in Bury and beyond are sure to be saddened by the news that Derek Walker, the chief architect and town planner for Milton Keynes, has died at the age of 85.
Born in Blackburn in Lancashire, Mr Walker grew up in Leeds, studying architecture at Leeds Arts School before distinguishing himself as head of architecture at the Royal College of Art in the 80s.
He was perhaps best known for his part in the creation of Milton Keynes, which he had intended to be greener than the surrounding countryside – an assertion he would probably later come to regret when Milton Keynes wound up being roundly criticised for its endless roundabouts, unattractive buildings and Concrete Cows (created by artist Liz Leyh in 1978).
The initial idea was to establish a Forest City, with 20 per cent of land allocated to parkland and the town divided up into localities, each given its own family of trees.
One of Mr Walker’s lasting legacies in Milton Keynes is the Central Shopping Centre, which he co-designed alongside Christopher Woodward and Stuart Mosscrop. First opened in 1979, it was in fact one of the first covered shopping malls in Britain and in 2010 was awarded Grade-II listed status by Jeremy Hunt, the culture secretary at the time.
However, despite this, the shopping centre’s own director apparently insisted that the centre was characterless and nondescript, even with Mr Hunt praising it for its “high quality design and unusual roof-top service area access”, according to the Independent.
Here’s a news story that award-winning architects in Manchester will no doubt find interesting – Polish architect Krzysztof Kotala has come up with the idea of constructing an underwater tennis court with a curved roof so players and spectators will be able to see fish swimming all around them during a match.
Keen to build it in Dubai, which is famed for pushing the boundaries of architecture, 30-year-old Mr Kotala said his design will be something totally original and should be built somewhere where a tradition of tennis-playing already exists – hence Dubai.
According to the Daily Mail, Mr Kotala is now looking for investors to turn this from a dream into a reality, although engineers have suggested that the idea would not only be very expensive to do but would also be especially difficult to execute.
Speaking to the news source, director of engineering and technical services at London’s Institution of Structural Engineers Sarah Fray said that the glass cover would need to be at least 108ft wide to fit the court and stands in.
“The more joints there are, the more likely it would leak. The design would also need to be thought out in terms of how it react to an impact. Any boat would have to be kept well clear and a dropped anchor would destroy it,” she said.
Mr Kotala isn’t the only one pushing architectural boundaries at the moment. Hungarian architect Dr Matyas Gutai recently hit the headlines with his concept of liquid engineering, where houses would feature walls with water trapped inside steel and glass panels to help reduce energy bills by up to 20 per cent.
Liverpool architects and others across the UK are sure to be pleased to learn that German architect Frei Otto – best known for his work on site at Munich’s 1972 Olympic Games – has been posthumously awarded the 2015 Pritzker Prize.
The 40th laureate of the prize and the second from Germany, Otto learned that he would be receiving the prize in January but he sadly died before it could be presented to him.
He is renowned for his work on the roofing of the Munich Olympic Park main sports facilities, as well as the German pavilion at the 1967 International and Universal Exposition, a series of tent structures in the 50s for the German Federal Exhibitions and the Japan Pavilion at Expo 2000 in Hannover.
Otto was famed for his more lightweight, open work, which contrasted sharply with the heavy stone masonry architecture preferred by Germany’s National Socialists.
Lord Peter Palumbo, chair of the jury for the Pritzker Architecture Prize, described Otto as a universal citizen whose loss will be felt throughout the world of architecture.
“Time waits for no man. If anyone doubts this aphorism, the death yesterday of Frei Otto, a titan of modern architecture, a few weeks short of his 90th birthday, and a few short weeks before his receipt of the Pritzker Architecture Prize in Miami in May, represents a sad and striking example of this truism,” he remarked.
Past laureates include Oscar Niemeyer, Gordon Bunshaft, Tadao Ando, Aldo Rossi, Richard Rogers, Shigeru Ban and Wang Shu.
Manchester architects and others around the UK might want to consider applying for the Wood Awards: Excellence in Architecture and Product Design 2015 if they want to showcase their latest projects and really make a name for themselves in their chosen field.
There are various categories you can enter depending on your speciality – Education and Public Sector, Commercial and Leisure, Private, Small Project, Interiors and Existing Building. There are also a variety of categories relating to furniture that might be more applicable – Bespoke, Student Designer and Production Made.
Chaired in 2015 by editor of the London Design Guide Max Fraser, anybody with a building or furniture project that has been completed in the last two years can enter, with the judges visiting all competitors on the shortlist to reach to their final decision.
Past winners of the top prize – the Arnold Laver Gold Award – include the Ditchling Museum of Art + Craft by Adam Richards Architects, the Hurlingham Club Outdoor Pool by David Morley Architects and the Rothschild Foundation by Stephen Marshall Architects.
“We are pleased to be associated with The Wood Awards for another year and are proud to sponsor the illustrious Gold Awards, which recognises the very best of what our industry has to offer. We will certainly be encouraging all our stakeholders – and the wider design and construction community – to take an interest and where possible get involved,” Andrew Laver remarked.
If you want to enter, you can find application forms on the Wood Awards website.
An event sure to inspire Manchester architects and others in the industry, a portion of this year's World Architecture Festival (WAF) is taking place between June 24th and 27th, making its debut in London, a four-day exhibition featuring landscapes, interiors, future projects and buildings from all over the world.
Free to attend, the event will see the finalists of the World Architecture Festival displayed exclusively for the first time, with a programme of talks also being put on looking at how the environment can be improved through architecture and design, as well as issues affecting communities and cities, and new architecture.
Known as the Oscars of architecture, the WAF Awards form a central part of the main festival itself (taking place in Singapore between November 4th and 6th), an event that brings together some 2,000 delegates from around the world.
As the organisers observed: "Winning a WAF award is your passport to the international architecture scene. Both professionally and personally transformational, the WAF awards are your gateway to global exposure, recognition and success."
A great networking opportunity for architects in Manchester and elsewhere, you'll be able to discover new architecture and techniques for yourself, instilling new ideas and inspiration to help tackle the design challenges of today. You will also be able to go on architecture-led city tours of Singapore, with exclusive site visits that take you off the guidebook routes to uncover some of the metropolis's hidden gems.
You can find out more about the even on the official WAF website, as well as following them on Facebook and Twitter.