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In this one-off special the Culture Show goes behind-the-scenes to follow it from commission to completion, and discovers just how difficult it is to build a tower for the 21st century. — bbc.co.uk
The Horniman Museum and Gardens in London just reopened its 16.5 acre gardens to the public after a major £2.3M ($3.5M) redevelopment. [...]
The most prominent part of the redevelopment is the new Gardens Pavilion designed by London-based practice Walters & Cohen. The firm's partners, Michál Cohen and Cindy Walters, recently topped a shortlist of strong competitors to win the coveted AJ Woman Architect of the Year Award.
— bustler.net
The Serpentine Gallery Pavilion in London, designed by Swiss architects Herzog & de Meuron and Chinese artist Ai Weiwei, was presented to the press today before it will officially open to the public tomorrow, June 1. — bustler.net
Since Chinese officials had put Ai Weiwei on 'city arrest' in his hometown Beijing, he was not able to attend the ceremony together with his design collaborators Jaques Herzog and Pierre de Meuron. Weiwei was however allowed to send a recorded statement: “As an artist, I’m always very... View full entry
The architect who created the £269 million aquatics centre has criticised “rude” Games bosses for not inviting her to a single event.
Zaha Hadid claimed she was not asked to the opening or closing ceremonies of the Games, or to any of the diving and swimming heats at her acclaimed building in the Olympic Park.
— thisislondon.co.uk
London's Serpentine Gallery just released plans for the 2012 Serpentine Gallery Pavilion designed by Herzog & de Meuron and Ai Weiwei. This summer's pavilion, the twelfth commission in the gallery’s annual series, will be open to the public from June 1 to October 14, 2012. — bustler.net
Let us know what you think about this year's pavilion design in the comment section below. You can also re-read reactions to the initial announcement of the design team here. View full entry
The fact that one of Britain’s most exciting new design practices is named after a social research organization formed in the 1930s is not a coincidence. The photographer Theo Simpson and the graphic designer Ben Mclaughlin founded their London studio, Mass Observation, last year with a mission to examine everyday experiences and surroundings. Their expanding portfolio of self-published books and print editions investigates contemporary social, political and economical issues... — tmagazine.blogs.nytimes.com
The clouds, made of 100 per cent environmentally friendly foam, soap bubbles and helium, can float as high as 20,000 feet and can travel up to 20 miles before they break up.
The clouds were formed to celebrate the launch of WiFi hotspots from The Cloud, giving Sky Broadband Unlimited customers free and unlimited access to WiFi in popular places such as The London Eye.
— thisislondon.co.uk
Staffers at some London data centers won’t be burdened with long commutes when the 2012 Olympics roll into town this summer and jam up city streets. Instead, they’ll have futuristic sleeping pods to crash in so they can never leave work.
In the past month, a London company called PodTime has sold 19 pods at £1,375 ($2,190) a pop to three collocation facilities, including a data center operated by Interxion, says Jon Gray, the founder of the 1-year-old company.
— wired.com
Because towers take so long to plan and construct, the current crop reflect a vision up to a decade old, reckons Nick Offer of Arup, an engineering firm. Economic conditions and the scale of such projects mean that only the very brave will invest now... In 2010 the coalition scrapped the previous, Labour government’s density targets, which were designed to encourage developers to build more units. Instead it has endorsed “garden cities” — economist.com
Related: Just climbing the shard, whatever... View full entry
For all its Brutalist charm and rigid adherence to the now-outmoded ‘streets in the sky’ concept, Robin Hood Gardens was an easy target for those who call architects hypocrites eager to champion crumbling estates they wouldn’t dare live in themselves. Many of the current residents can’t wait to be rid of it: a consultation in 2008 found that over 75% supported its demolition. — londonist.com
The Herzog & de Meuron and Ai Weiwei collaboration – the 12th pavilion – breaks the mould of the sequence so far as the criterion for the commission had been for an architect not to have built in England. But Herzog & de Meuron are also deeply engaged in the art world, having built the Walker Art Centre in Minneapolis and the de Young Museum in San Francisco. They are currently working on art museums in New York, Miami and Kolkata. — ft.com
Perhaps emboldened by the success of the atheist bus, or his own Living Architecture initiative (in which top architects design desirable holiday homes), or the fact that he's got a new book to promote, Alain de Botton is now proposing a series of temples for atheists to be built around the UK. — guardian.co.uk
The last few years have seen a new generation of alternative publications and editorial talent emerge, and London is very much a part of the scene. This month saw the release of the fourth issue of P.E.A.R.. Printed on newspaper stock, this zine was started by the editorial collective of Rashid Ali, Matthew Butcher, Julian Krueger and Megan O’Shea, with the designer Avni Patel, in 2009. — tmagazine.blogs.nytimes.com
Named A Room for London, the accommodation is also an art installation commissioned by Living Architecture and Artangel. Living Architecture is a social enterprise that operates a handful of holiday homes throughout the UK and aims to provide members of the public with the opportunity to experience contemporary architecture at first hand. The Artangel organisation commissions creative projects by contemporary artists. — telegraph.co.uk
Shaped like a boat and moored above the Southbank Centre, this one-off, one-bedroom hotel has room for just two guests and is only open for one year. View full entry
Richard Rogers's 1986 headquarters for the insurers Lloyd's of London has just been listed Grade I. This makes it, along with the Royal Festival Hall, one of the few 20th-century structures to be placed at the same level as, say, St Paul's. But, like the gothic cathedrals it so closely resembles, Lloyd's was not meant to be an entirely finished product. Look up to the top of its facade, and you'll find cranes are still there... — guardian.co.uk