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Exploring boundaries : the architecture of Wilkinson Eyre PDF

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Exploring Boundaries Design and production Jannuzzi Smith, London (Michele Jannuzzi, Flavio Milam, Benoit SantJard, Richard Smith) Reprographics DawkinsCo]oUI, London Pnntinc FreiburgerGraphische Betneoe,Freiburgim Breisgau Bibliographic information published by Die Deutsche Bibliothek D1e Deutsche Bibliotheklists this publicationm the Deutsche Nationalbiblioqrafie: detailed bibliographic data is available in the mternet at http//dnbddbde Libraryof Congress Control Number 200'7922516 This work IS subject to copyright Allrights aI8 reserved, whether the whole or part of the material IS concerned, specifically the rights of translation, reprinting, re-use of illustrations, recitation, broadcasting, reproduction on microfilms or lIJ other ways, and storage in data banks For any kind of use,permission of the copyright owner must be obtained © 2007 BirkhauserVerlagAG Basel Boston Berlin PO Box 133, CH-401OBasel,Switzerland Part of Spnnger SClence+Business Media Pnnted on acid-free paper produced from chlorine-free pulp ECF 00 Printed in Germany ISBN 978-3-7643-7531-'7 9 876 54 32 1 www.birkhauserch 7 Hulls Held Aloft and Bridges that Blink byKurt W Forster 25 The Magic Carpet byPeterDavey 36 Gateshead MillenniumBridge Gateshead, UK,2001 48 Magna Rotherham, UK,2001 58 Royal Botanic Gardens Kew London, UK,2002 68 Crystal Palace London, UK,unrealised 76 National WaterfrontMuseum Swansea, UK,2005 90 King's WaterfrontLiverpool, UK,2007 102 "Bridgeof Aspiration" London, UK,2003 112 Tensegrity Bridge Washington DC, USA, unrealised 118 Schools forthe Future various locations, 2003- 126 King'sCross GasHolders London, UK,concept stage 132 MaryRose Museum Portsmouth, UK,concept stage 140 Nesciobrug Amsterdam,The Netherlands, 2006 146 Brighton MarinaBrighton, UK,due for completion 2012 152 Gatwick Airbridge London, UK,2005 160 Guangzhou West Tower Guangzhou, China, 2009 project textsbyPeterDavey 173 Illustration credits 174 List ofstaff 176 Acknowledgements Hulls Held Aloft and Bridgesthat Blink Thoughts on the Architecture ofWilkinson Eyre byKurt W Forster PierLuigi Nervi,"Problem; ChrisWilkinson and Jim Eyre are architectswhose practice dell'architetto."in Casabella, defies the customarydivision betweenhowa buildingis vi([933), 5,p 34;reprinted actually constructedandhow it looks to theeye.Theyshare inStoii«modemaaeu'etteIn withan earlier exponentoftheir approach, Italianarchitect Italla, JI! Dalnovcentoal Pier Luigi Nervi, the convictionthat"forthe very idea of dibeuit!sulla Iiqut« esui architecture, an understandingofthespirit ofthetimes"will monumentate. 197.5-1945, proveindispensable, a grasp of"what is dynamic, decisive, ed.by PaolaBarocchi Turin and daringin its intellectualmanifestations."!They might r':maucli,1990, p 302 Giulio argue with Nervi that this is because "the works we build CarloArgan,inhisearly notonly bearthe traits ofour age, they also mirror our spirit biographicalsketch ofthe and our capacitywhose enduring reflection and identity engineer, PierLuigiNervi willbe judgedby future qenerations."Tobe sure,Wilkinson [Milan II Balcone. 1955, p10L Eyre have alreadybeenexaminedby their contemporaries argues that "Nerviconsiders. andfound to possess exceptional capacityto work in the method ofhisresearch difficultsituations andfordiffident clients, such as railroad tobeintrinsicallyaesthetic" and municipal administrations. Moreover, theirlatest Nervi, in Casabella,vi(1933), projects venture beyondthe classic domains ofstructural 5,p 34 "Ouello che e' engineering-industrialbuildings, terminals, and bridges Iondarnentale,per la -andinfrastructure, proposinginsteadmuseums, schools, concezionearchitettonica,e' officetowers, and greenhouses. lacomprensionedellospirito Withthelatter,we returnto someoftheearliestexplorations delnostrotempo,diquelnon in metal-and-glass construction, which proved to be a sodidinarnico.dideciso, powerfulenginein the transformationofarchitectureduring diaudace che nepervade Ie the lasttwo centuries. On the vacant site ofthe nearly manifestazioni intellettuaJi; e vanishedCrystalPalace, the emptyknollin Sydenhamwhere 10sfruttamontodellecapacita' onlythe retaining walls ofits basehave beenleft in place, tccntchc e industriali, WilkinsonEyre have proposeda new permanent structure. consideratecomemeravigliosi An elegant glass-clad capsule,the lengthofthe original strumsntl perpiu'rneravigliose transverse aisleofthe Palace, perches highabove thesite, sintonie." offering visitors a spectacularview ofthe city.As a hovering "craft," the proposed capsule is imagined at the scale of the grandestdirigibles, carryingwithit a memory ofa now-distant time and ataste ofour own space-age fixation on"capsulesforsurvival."As alandmarkvisible fromafarand 7 Leonidov.Pyramid and Zeppelin m Project ofaPalaceofCulture offeringfar-reaching views forvisitors, this new crystal craft forMoscow, 1930(left) Crystal suggests aplatform fromwhich the imaginationmight take Palace, London (nght) Internal flightwhilstkeepingan eye onthecityabouttobeleftbehind. court, Kmg'sCrossGasflolders. The projectbalances contradictoryimpulses: a mock-up of London (opposite top) Water thefuture which willinstantlyreduce the world to purely pavilion, Magna, Rotherham specularexperience, and a reminiscence ofthe mid-19th (oPPositebottom) centuryeuphoriaformechanicalinvention. Hoveringabove the treetops and skirtedbythe ruined retaining walls ofthe Palace,WilkinsonEyre's structurewould add toLondon what the Millennium Dome could neverachieve. The image ofan "abandoned"platform belowand an inexplicably suspended objectin the sky has the powerto recall one ofthe key images ofthe last century:Leonidov's dirigible tethered to a pyramid. Maximumstabilityandits opposite, levitation,form a pair ofparadoxicalantagonists. One is tempted to think ofWilkinson Eyre's work as a kind ofmeditation on these paradoxicalstates, a balancingact performednot just inthe realm ofthe imagination, but among the forces ofreality that are in play rather than at rest. BecauseWilkinson Eyre really reflect on the paradoxand imagine a structurethat negotiatesits own conflict,any echoesofArchigramand their capsules lumberingon pneumatic stilts across the territory ofthe city are faint, indeed. Not to speakof"elegance," on which we shall hear morefrom Gustave-AlexandreEiffel, nor oflandscape.Wilkinson Eyre are not taking up where the CrystalPalaceleft off, theirs is not a giant greenhouse, but an otherworldlyhull that descends into nature rather than enshriningit. The idea ofa self-contained capsulemadeits appearance earlyintheirwork and is never completelyout ofview.Ittook shapeinthe Magnaproject, not just as aformalfeature, butas a concept capableofassumingfourfundamentally different states. Inkeeping with the project'spurpose ofillustrating the"history" ofsteel at a now idle site ofsteel-making, each 8 "pavilion," as the architects callthem, houses one ofthe fourancientelements-earth, air,fire, and water. Below and above ground, the elements assume a different "historical" reality,their manifestation remaining palpable evenifit issues from a cosmographynow farremovedfrom our own experience.Water takes the form ofa steel-shapedwave, and airthe hollow ofits own displacementin the guise of a giant shell. The container, in one form oranother, seems to come closest toWilkinson Eyre's concept ofspace, a container,moreover, shaped byits ownstructuralproperties ratherthanexternalexigencies.Their space-capsules seem destined to capture and shelter what cannot float free or suffer exposure.As we are biologically limited beingsin just suchterms, the ideaofthe pod assumes vital relevance and anchors our imaginationin our owngenesis as human beings rather than in any ofthe abstractions so dearto the early years ofmodernarchitecture Itis not Cartesian abstraction ormechanicalregularity that prevailin Wilkinson Eyre's work; insteadthey are always proposing containers-in-the-void. One does not needto enumerate the instances where this ideahas gUided their approach. Itis enoughto suggestthat an enormous void-moreover, one installedwithin a historic structure, such as the 1887 Pension BuildinginWashington, D.C.-invites the project ofa gossamerTensegrityBridge, orthat the empty Gas Holders at King's Cross in London, where our architects propose apartment buildings within the cylindricalholds, converge on a"void within a void" forcirculation and vegetation. At Portsmouth,WilkinsonEyre have plannedthe Mary Rose Museum, which will serve at once as a dry dock and tomb chamberforthehull ofthe unfortunate ship Henry VIII witnessedfoundering in battle at sea. The buildingand the glass hull complementingthefragmentary ship that was 9 .---~~~ ~ -=--- ~ . ..-....... _. ~ . Citedm RIchardDeacon, raised from the seabed willbe turned into a time capsule. ScuJptures1987-1993 The strikinglytimeless characterofthe capsule cradles and Hanover Kunstverein. 1993, protectsfragmentary relics ofthe past,not unlike the droplets p 126 ofresin that trapped insects, pollen, and leaves and over time hardenedinto amber Asuspicion also hardens in our mind about the peculiarnature ofindustrialmaterials that promiseto endureforvery long spans oftime, such as glass and stainless steel Because they withstand time and its universallycorrosive effects betterthan othermaterials,their culturallot is to stem the force ofhistoricaltime, its decay and degradation Although these artificial materials are relative newcomers to architecture, when held to the scale ofits evolution, theyimposea chronologyoftheirown. They tend toward norm and constancy, but when they change, they do so as a result oftheir production processes, rather than accordingto arbitraryformaldecisions. Similarly,visitors to the Mary Rose Museum willbe able to move across a kind ofgangplankrunningthrough history as theypass between the conserved hull ofthe ship and the capsuleholdingits artifactualfragments The idea ofa capsule-gargantuan by comparisonto its cargo, ormere cocoon, as the case may be-makes its appearance as a hollow,a translucent shell, ora bridge-like structure vaulting a motorway, as the New Botanic Gardens in Newcastle are intendedto do. Inquiringinto the nature of these capsules, one may ask, as the English sculptorRichard Deacon asked himself in 1978-79,"whatan enclosureis,and what an openingis.An enclosure," Deacon asserted, "is a clarification, actually; an openingis a possibility," justas "singing andlisteningare reciprocalactivities."3Withregard to his drawings Deacon concluded that they"seemed to showthat what was enclosed had a relationship to the contour This functioned likea skin over the interior,and the interiorremaineda hollow resonantspace."Itispreciselythe 10 MaryRoseMuseum, Portsmouth (opposlte) NewBotamc mutually defining rapport ofhollow and contourthatalso Gardens. Newcastle (left) imparts a specific"resonance"toWilkinson Eyre's shells. RichardDeacon. It's Orpheus Deacon detected that only in such a resonant hollow do WhEmThere's Singmg#7 "appearance, community, building, speaking, listening, 19'18-9(nght) production and manufacture allseemto be involved," as indeed they need to be in our architects' capsules.The intentto hold and conserveis ofapiecewith the notionof the capsule,whichvariouslyopens up to its site orbeyond. Itcantake the shape ofa half-buried, tent-like structure,as it does fortheAlpine House at Kew Gardens, or ofhuge clam-shapedhalls,as on the King'sWaterfrontin Liverpool. The Albert Dock forms massive piles ofunfaced brick whichwillfindtheircounterpartintwo silvery shells whose flowing lines and slightly asymmetricalhalves willappear to breatheinthelightand shade betweenthe RiverMersey and the usually luminous sky.Much hangs in the balance fora projectthat willprovide a wide range offacilities, beginningwithpublictransportationand parking, centering on arena, conference and exhibitionfacilities along the riverfront, and endingwith amenities ofsite and residence, allexpectedto give new"resonance"to the town. King's Waterfront willhave to exert allthe powers architecture canmusterin order to breathelifeinto the site and bring energyto the city beyondthefanfare ofits inaugurationon the occasionofLiverpool's turn amongthe European Capitals ofCulturein 2008.The project gives every promise ofsuccess. Similarinitiativestoo often hang on the hopes we hold outfortechnological solutionsto problemsthat have defeated other efforts.Weare inclined to defer to theimperativesraised by conditions ofour own making rather than rethinkthem, and we gladly defer changing them when technological magic promises to turn things around.WhatWilkinson Eyre are doingforthe Merseyriverfront finds an impressivepreludein the nearby 11

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