April 16th, 2013
The Gate 81 project hacklab/workshop/charette has been arranged for May 2013.
Link: Gate 81 Hacklab
Email for email@example.com if you are interested in taking part.
March 18th, 2013
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.
February 18th, 2013
“…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
September 25th, 2012
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
June 15th, 2012
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.
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
May 2nd, 2012
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.
April 25th, 2012
Continuity in Architecture is delighted to announce the opening of an important exhibition of twelve projects from the Erasmus Intensive Workshop held in Venice in Autumn 2011. The show features the work of post-graduate students from the CiA Unit of Manchester School of Architecture, collaborating with students and professors from Granada and Barcelona (Spain), Venice and Catania (Italy), and Oulo (Finland). The programme is in its third year and was established to explore the adaptation of archaeological sites for modern purposes. This year extraordinary sites of ancient civilisations in south-west Sicily - in Scicli, Syracuse, Paliké and Camarina - were the inspiration for dramatic design interventions in the landscape that redefined and reinterpreted place.The exhibition will be in the RIBA Hub, Cube Gallery on Portland Street from 26 April - 18 May 2012.
April 19th, 2012
Slides from a lecture given by Dominic Roberts at Liverpool School of Architecture, 9 March 2012.
Picture: Blackpool Tower on fire, 1897
March 7th, 2012
Designed by Louis Delacenserie, inaugurated in the summer of 1905
W G Sebald in the opening passage of Austerlitz recounts a chance encounter and the consequent conversations that took place within the Station. He describes in detail the enormity and magnificence of the surroundings and explains its foundation…
“The model Leopold had recommended to his architects was the new railway station of Lucerne, where he had been particularly struck by the concept of the dome, so dramatically exceeding the usual modest height of railway buildings, a concept realized by Delacenserie in his own design, which was inspired by the Pantheon in Rome, in such stupendous fashion that even today, said Austerlitz, exactly as the architect intended, when we step into the entrance hall we are seized by a sense of being beyond the profane, in a cathedral consecrated to international traffic and trade.”
Over the last twenty years the station has undergone extensive restoration and massive expansion, and so now contains four layers of tracks, the lowest of which accommodate the Thalys high-speed inter-city trains.
March 5th, 2012
Sally Stone has just returned from the Winter School at the University of Antwerp. This important annual event invites academics and architects to run projects upon a specific theme, this years was Transformer.
Antwerp, an important city in northern Belgium, in the north of Europe, has been sought after and fought over for centuries thanks to its sheltered position on the estuary of the River Scheldt, the mild climate and the tolerant people. The legacy is a patchwork of ancient and modern architecture in which baroque rubs up against art deco, the traditional adjacent to the contemporary and the scarified next to the ephemeral
Look, said the voice … “A vacant lot at dusk” … “Long blurry beach” … “Sometimes you’d think he’d never use a camera before” … “Crumbling walls, dirty terrace, gravel path, a sign that says Office” … “A cement box by the side of the road” … “Restaurant windows, out of focus” … I don’t know what the hell he’s trying to get at.”
Antwerp by Roberto Bolaño
the City: the Building: the Room
“One could look from the campiello through openings, balustrades, screens, and discern the garden at the other side … and behold something at once a mystery and reality.”*
Architecture is the mediator between the City and the Room. An act of translation occurs at the point where the outside meets the inside. The window, door or threshold transforms the nature of the exterior and moderates it to accommodate the interior. When viewed from the hostile environment of the outside, the interior can possess qualities that are perhaps ethereal, enchanting or reassuring.
Imagine a crowd gathering in the Grote Markt, the quality of the light in the square, the coldness of the damp and windswept space, look through those twinkling windows of the tall imposing buildings, envisage what would be happening in these spaces, picture the character of the rooms behind the facades, create this interior.
*Carlo Scarpa talking about the Fondazione Querini Stampalia
The City: We examined the particular qualities and characteristics of routes from the Grote Markt to the edge of the central area, and then back again. This analysis led us to create proposals for the transformation of the journey into a narrative; that is a collection of forms and spaces that communicated the essence of this excursion.
The Building: We analysed the particular qualities and character of the Guild-Houses that face the Grote Mark. We looked at the size, scale, materials, construction, occupation and most importantly the quality of the light.
The Room: We translated the ideas that were developed for the abstract space into a real proposal for the interior design of a space or collection of spaces within the Guild-houses.
September 20th, 2011
Over the last forty years the western world has witnessed massive social and economic restructuring. The old heavy industries, upon which our society was constructed, have collapsed. Countries such as the UK and Spain, once the workshops of the world, are now reliant upon the new service and information-technology industries. The urban areas within these countries contain a vast wealth of memory and experience. We need humility in the face of such grandeur of industrial legacy if we are to construct new elements in these neglected areas. Within the cities of the industrial revolution a new form of spatial production is needed to invest the dying urban patterns and decaying fabric with meaning.
Continuity in Architecture will run two projects both in post-industrial cities. 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. We will examine the qualities and character of the places before making design proposals.
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. It contained several large streets all very like one another, and many small streets still more like one another, inhabited by people equally like one another, who all went in and out at the same hours, with the same sound upon the same pavements, to do the same work, and to whom every day was the same as yesterday and to-morrow, and every year the counterpart of the last and the next.
(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. Statistics altered and demographic shifts were seen: for instance, the more machines were used in the mills, the more demand there was for women to run them, since machinery did not require as much physical strength, and women could be paid less. But the vile calculus of human misery was unaltered… 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)
August 18th, 2011
This year the Continuity in Architecture students have completed projects in Westminster and Dubrovnik. These were part of what was described as an Argosy of projects as they formed a group with studies in Venice, Antwerp and Manchester.
Of course, an argosy is a large group or fleet of vessels operating together, usually under the same command and organised for a specific tactical purpose. It was a term used by Shakespeare (e.g King Henry VI, Part 3, Act 2, Scene VI; in the Merchant of Venice, Act 1, Scene III; and in The Taming of the Shrew, Act 2, Scene I), and the word means a flotilla of merchant ships operating together under the same ownership. It is derived from the 16th century city Ragusa (now Dubrovnik), a major shipping power of the day and entered the language through the Italian ragusea, meaning a Ragusan ship. (The word bears no relation to the ship Argo from Greek mythology: Jason and the Argonauts)
RAGUSA: THE PRODIGY OF EUROPEAN HISTORY
“A hard city it remains too, to my mind, when you cross the bay and land upon its quay, beneath its high fortifications. It is very beautiful but hard. It lacks the yield or leniency of Venice. Built of a glittering and impermeable marble, enclosed within superb city walls, tilted slightly with the lie of the land and corrugated everywhere with battlements – tightly packed there within itself it has acquired non of the give-and-take of great age, but seems in a way a perfectly modern place, dogmatically planned and didactically displayed to visitors, like a model town in a trade fair.” Jan Morris- The Venetian Empire
LEARNING FROM SAN CLEMENTE: PROJECT IN LONDON
The Architect’s Journal described Westminster Cathedral as a ‘great religious building which, though clearly rooted in the architectural concerns of the late nineteenth century, has timeless qualities which set it apart from more commonplace works of the age.’
The Cathedral site was originally known as Bulinga Fen and formed part of the marsh around Westminster. It was reclaimed by the Benedictine monks, who were the builders and owners of Westminster Abbey, and subsequently used as a market and fairground. After the reformation the land was used in turn as a maze, a pleasure garden and as a ring for bull-baiting but it remained largely waste ground. In the 17th century a part of the land was sold by the Abbey for the construction of a prison which was demolished and replaced by an enlarged prison complex in 1834. The site was acquired by the Catholic Church in 1884.
Link to further CiA student work: http://www.flickr.com/photos/66428470@N04/
During a time of transition, do not lose faith in architecture