Landscape Architecture: Landscape Architecture: - School of ...

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7 1 Entrance lobby void 2 North stair core 3 Open-plan space 4 Offices 5 CEO meeting room 6 CEO office 7 CEO terrace 8 Butler station 9 South stair core 1 2 8 6 3 4 5 9 First-floor plan. There is further exhibition space and more administrative offices on this floor. Note the window in the bottom left corner of the gallery space which looks into the entrance lobby’s triple-height space. 6 8 3 1 4 5 7 2 9 10 1 Entrance 2 Entrance lobby 3 North stair core 4 Exhibition space entrance 5 Exhibition space 6 Courtyard café 7 Meeting room 8 Kitchen 9 South stair core 10 Car park Ground-floor plan. Much of the ground floor is a clear, but fully serviced space sandwiched between two service riser walls that can be adapted to a wide range of exhibitions and presentations. The entrance space is triple height. 123+
7 6 7 5 4 1 2 3 1 Exhibition space 2 Courtyard café 3 Storage 4 First-floor open-plan space 5 Second-floor open-plan space 6 Skylight 7 Roof-level plant enclosure Cross-section. A long, thin lantern runs down the centre of the top floor. On the right, adjoining the ground-floor gallery, is the courtyard café. 9 8 6 4 8 9 7 5 1 2 3 1 Entrance lobby 2 Exhibition space 3 Meeting room 4 First-floor open-plan space 5 Offices 6 Second-floor open-plan space 7 Second-floor offices 8 Skylight 9 Roof-level plant enclosure Long section. Though similar in plan, the three levels of gallery space have different characters, lighting conditions and ceiling heights. and not open to the public. The Blouin Institute, though entirely privately funded, is open to the public and not a commercial venture, and so adds a new dimension both to the character of the immediate area and to the possibilities for presenting art in London. The institute draws both on the area’s building stock and its changing character. Dating from the 1920s, the building originally housed a coachbuilder for luxury cars, but was converted into studios, workshops and offices in the 1980s in a way that compromised its utilitarian qualities, which are often appropriate for contemporary arts venues. Covering about 3,250 square metres (34,983 square feet) over three floors, enough of the original character remained, however, for Louise Blouin MacBain to spot its potential as a permanent London location for her art foundation when she saw it in 2004. She turned to Borgos Dance, who had designed several stands at international art fairs for her, to design the conversion. As Simon Dance explains, the aim was not just to re-create the old coachbuilding workshops where Rolls-Royces, Bentleys and Daimlers were turned out to the specification of rich buyers, but also to intensify the buildings’s essential character. On the outside the designers not only cleaned up the London stock brick facades, but also rationalised the openings, eliminating both later alterations and the abnormalities that practicality may have rendered necessary. A significant number of piers and arched windows were rebuilt, all in load-bearing masonry. The implication of an industrial building pared down to its essence and then transformed into ‘what it really wants to be’, as Louis Kahn might have said, is made explicit in the permanent lighting installation designed with James Turrell. This highlights the windows at night, turning the building into a beacon that the BBC executives can see from their Television Centre fortress across a cityscape that includes the motorway linking Shepherd’s Bush with the Westway, the vast new White City shopping centre and a site on which Rem Koolhaas has designs. 124+
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4 Landscape Architecture: Site/Non-
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4Architectural Design Forthcoming T
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ISBN-13 9780470034798 ISBN-10 04700
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Alison and Peter Smithson, Upper La
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Introduction Site/Non-Site Extendin
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The most dramatic case of the expan
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Dixon and Jones Architects, Exhibit
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From Mound to Sponge How Peter Cook
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The Oslo Patch investigates a new w
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The Frenzy of Theorising In our tim
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Giovanni Bellini, The Madonna of th
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landscape architects, not only one
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Recombinant Landscapes in the Ameri
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West 8 and du Toit Allsopp Hillier
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Cooper, Robertson & Partners, Coast
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Cooper Carry, Mizner Park, Boca Rat
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Brian McGrath and Victoria Marshall
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forest in terms of human carbon pro
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Urban American Landscape
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Patricia Johanson, Fair Park Lagoon
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flights up extending for 22 city bl
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City, a new mixed-used neighbourhoo
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Ken Smith, Mary Miss, Enrique Norte
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Toronto Waterfront Revitalisation S
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Running the entire length of the sc
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Operationalising Patch Dynamics Vic
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TILL, Monroe Center for the Arts Wa
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urban-interface, Megalopolis Now, B
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Recent Works by Bernard Lassus At t
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Bernard Lassus, motorway landscapes
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View of the upper terrace of the ol
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Deep Explorations into Site/Non-Sit
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Aerial photo of the site showing th
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Gustafson Porter, Hadiqat As-Samah
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Page 79 and 80: ‘Activating Nature’ The Magic R
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Page 83 and 84: Zaha Hadid Architects and Gross.Max
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Page 89 and 90: West 8, Luxury Village, Moscow, Rus
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Page 93 and 94: The recent work of Beigel and Chris
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Page 112 and 113: Is There a Digital Future Landscape
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Page 123 and 124: Building Profile Louise T Blouin In
Page 125: 1 Entrance lobby void 2 North stair
Page 129 and 130: Practice Profile The Tailored Home
Page 131 and 132: Front and back elevations. Bungalow
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Page 135 and 136: Loft area. Split-Level to Loft, sou
Page 137 and 138: Home Run Dosson in Casier, Italy Va
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Page 143 and 144: McLean’s Nuggets Learning from th
Page 145 and 146: Site Lines Night Pilgrimage Chapel
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