The Gate 81 project hacklab/workshop/charette has been arranged for May 2013.

Link: Gate 81 Hacklab

Email for info@gate81.com if you are interested in taking part.

Recently CiA were honoured to receive a guided tour the Scottish Ballet Head Quarters in Glasgow, by the project architect, Clive Albert of Malcolm Fraser Architects. The building shares an entrance with the Tramway Gallery, and we although we had been warned about the inauspicious entrance, as we approached the building from Pollokshields station, the building did indeed look almost derelict. The SBHQ is actually entered from a staircase within the lobby of the Gallery, which deliberately encourages interaction between the different types of artist endeavour. The building itself is regarded as a place of work, rather that a place for performance, almost akin to an office and so it has a sense of serine calm and privacy rather than the dramatic flamboyance of a theatre. The dancers and all of the support staff turn up for workin the morning, just as the rest of us do.

The exterior of the building is tough, robust and somewhat uncompromising, however the interior is intricate and fastidious accomplishment. The sheer scale of the dance studios dictates the plan, but even so, these huge orthogonal spaces are skilfully arranged around a top-lit communal area. It is from here that the intricate three-dimensional relationships that have been created within the building are visible.

The timber-clad interior exudes the kind of warmth that the dancers need to keep their muscles supple. The studios themselves are uncluttered and clean. The space is graduated, so that the busy-ness of the ceiling space seems to recede into the greyness, leaving the pure white walls of the lower area to define the studio itself.

It is the fastidious attention to detail that ultimately defines this building. From the vertical timber batons on the interior walls to the deliberate inconsistency of the colour of the exterior cladding, it is clear that the architects have carefully considered the manner in which the building is used, the effect of weathering, and the experience of occupying it.

Continuity in Architecture is almost twenty years old. It is something that we would like to celebrate and we fully intend to mark the occasion with some sort of jamboree or other such event. Look out for further posts.

Over the years we have conducted projects in many different locations: Palma, Venice, Barcelona, Dubrovnik, Dublin, Manchester, London, Valencia, Sant Sadurni, just to start with. But there is one location that we keep coming back to, it is a place that through position, evolution, history and neglect has a huge amount to offer us in Continuity in Architecture: it is of course: Preston. We have produced some marvellous proposals for the place, from bridges to tunnels, new urban squares to department stores, almost non-existent interventions to massive demolition works, all of which have their basis in the understanding and translation of the qualities of the area.

 Remember – Reveal - Construct

So it is with great anticipation that we notice that another institution has also recognised the worth of the place. The RIBA have just launched their FORGOTTEN SPACES competition in the engrossing city of Preston. Why not have a go? Why not have a look at the project that you’ve already designed? Let us remember some of your fabulous work. See extract from the competition brief below and competition call here

“Preston is full of potential for development, with proposals for major investment across the city. However, there still remain pockets of obscure leftover land and neglected plots that could- with imagination and new thinking- accommodate a host of functions, respond to local needs and provide a counterpoint to these wider investment proposals.

ANTWERP INTERRUPTED

Link to student projects 

“…I would say that even in historic times documents are not always available, and buildings (monuments, vernacular constructions and public works) are themselves important texts, often providing the first and most lasting impression of a culture.”*

The voids in the urban landscape, which are created by virtue of the enclosing nature of the surrounding buildings, have great value. These gaps, spaces or holes are important, for it is these that are occupied, that the visitor or resident will visit, pass through or inhabit. The structures that surround these squares contribute to the quality of the environment. Many buildings are deformed to accommodate the purity of the square, however some can exist as pure elements even within a complex system of buildings and voids. Ideal forms can exist as fragments, and can be viewed as mere collaborative elements to be“collaged” into an urban environment, and thus, rather than exist exclusively as landmarks, can contribute to the composition of the city.

In December 2012 Preston City Council voted ‘in principle’ to demolish Preston Bus Station and replace it with a surface car park. This building is a major cultural landmark and it should be preserved and creatively adapted to serve the city. It could act as a key building and public space to make Preston accessible and temper the decay that is affecting our city, and so many other city centres across the UK.

We will explore the nature of the fragment within an historic city, we will bring the Bus Station to Antwerp, it will occupy a definite place within the urban environment, it will:

 INTERRUPT the city

 “The bricoleur is adept at performing a large number of diverse tasks; but, in contrast to the engineer, he does not subordinate each one of them to the acquisition of raw materials and tools conceived and procured for the project: his universe of tools is closed, and the rule of his game is to always make do with ‘what’s available’, that is, a set, finite at each instance, of tools and materials, heterogeneous to the extreme, because the composition of the set is not related to the current project, or, in any case, to any particular project, but is the contingent result of all the occasions that have occurred to renew or enrich the stock, or to maintain it with the remains of previous constructions or destructions.”#

 *VIA 8 Architecture & Literature, Form, Modernism & History ed. A. von Hoffmann, Harvard 1996 (* quotation from Interactive Realms by Jorge Silvetti). #Lévi-Strauss, C La Pensée Sauvage Librairie Plon, Paris, 1962, ch 1, p 31 [Ref. 59, p 17]

All our Preston Bus Station posts. The demolition vote is being held by Preston City Council on Monday 17th December.

The Council’s background documentation is here … Including costings and rejected urban design proposals.

The silhouette of Istanbul, sailing West on the Bosphorus towards the bridge connecting Europe and Asia.

Jugendstil/Art Nouveau building, Istanbul. Note the heavily modelled floral decoration.

Next to the baptistery, Santa Sophia, Istanbul.

Projects in Venice and Cartmel 

This year Continuity in Architecture will offer two projects, one at home and the other away, but both have a strong connection with water and with travel.

“It is very old, and very grand, and bent-backed. Its towers survey the lagoon in crotchety splendour, some leaning one way, some another. Its skyline is elaborate with campaniles, domes, pinnacles, cranes, riggings, television aerials, crenellations, eccentric chimneys and a big grain elevator. There are glimpses of flags and fretted rooftops, marble pillars, cavernous canals. An incessant bustle of boats passes before the quays of the place; a great white liner slips towards its port; a multitude of tottering palaces, brooding and monstrous, presses towards its water-front like so many invalid aristocrats jostling for fresh air. It is a gnarled but gorgeous city… the whole seems to shimmer – with pinkness, with age, with self-satisfaction, with sadness, with delight.”           James Morris, Venice

“I have written about the Britons who first hid themselves here from their Roman invaders, of the Viking sailors who crossed the northern seas in search for homes, of their Anglian and Norman-French overlords, of the monks and Canons who with a call from God came here to teach and to build, bringing with them a stable Christian civilisation. Those who followed have made many mistakes, they have quarrelled and suffered and found happiness; they quarrelled about religion and politics, they suffered from flood, plague, hunger and fire, and each generation as it grew up has found countless homely pleasures, cheerful friendships, the love of their homes and work on the sands, in the fields and woods, even as many of us do today.”         Sam Taylor, Cartmel: People and Priory

The story adjusts its gait to the slow progress of the iron-bound hoofs on the climbing paths, towards a place that contains the secret of the past and of the future, which contains time coiled around itself like a lasso hanging from the pommel of a saddle.   Italo Calvino, If on a Winter’s Night a Traveller

Remember Reveal Construct 

ON THE INDUSTRIAL RUINS

Continuity in Architecture has run two projects this year, both in post-industrial cities: Preston and Barcelona. Each city has approached the problem of how to transform the unban environment to accommodate the needs of the twenty-first century population in a different manner. As always we began with a study of the urban environment, within CiA, the emphasis is always directed towards the site, the place, the situation. Relationships that exist between the different textures within the condition of the location can be explored, translated and interpreted. And thus the form of the new is influenced not by the function but by the form of the existing, and so it is not form follows function, but form follows form.

Coketown

It was a town of red brick, or of brick that would have been red if the smoke and ashes had allowed it; but as matters stood, it was a town of unnatural red and black like the painted face of a savage. It was a town of machinery and tall chimneys, out of which interminable serpents of smoke trailed themselves for ever and ever, and never got uncoiled. It had a black canal in it, and a river that ran purple with ill-smelling dye, and vast piles of building full of windows where there was a rattling and a trembling all day long, and where the piston of the steam-engine worked monotonously up and down, like the head of an elephant in a state of melancholy madness. (Charles Dickens, Coketown)

Blind with Love for a Language

The prospects of the Barcelonese worker remained the same throughout the nineteenth century: grinding, brutish, and without much hope of change… They lived cramped in garrets and basements, without heat or light or air. Midcentury Barcelona made Dickensian London look almost tolerable; Cerda` found that its population density was about 350 people per acre, twice that of Paris, and that workers had a living space of about ninety square feet per person. (Robert Hughes, Barcelona)

Remember, Reveal, Construct

A Facebook group has been formed to organize opposition to the new proposals for Vincent Harris’s Library Walk in Manchester.

Read the Heritage Statement  (pdf) produced by the developer’s historic building adviser. Quote from statement: how this left-over space came into being and the fact it is not a particularly pleasant space 

Continuity in Architecture have been a-twitter with excitement at the prospect of a lecture by the highly acclaimed architect Peter Wilson. The sense of expectation was heightened by the memories of past and highly influential talks which probably date back to the 1980s. Concepts of interpretation, context, place, narrative and storytelling are always a marvellous encouragement.

Peter Wilson did indeed deliver an inspirational lecture at CUBE. Using the illustrations from his new book about drawing as the basis for the talk, he skipped through a chronological dissection of the work of Bolles + Wilson. He is a man obsessed with hand drawing, and to prove this he showed the preliminary drawings for each project before describing how these sketches influenced the final building. “If the initial sketch is not correct”, he explained, “then the finished building will not be right.” Wilson considers architecture to be “something that accompanies daily life” and his talk and the sketchbooks gloriously showed that.