A DAY OUT OF THE OFFICE
MAY 2014
We breathlessly boarded the 08.55 to Darlington. Like skilled waitresses we had kept our homemade, oversized, A1 box perfectly level throughout our chase through Kings Cross Station. The immaculate foam-board creation fitted perfectly on top of a double-seat on the near-empty train. East-Coast mainline rules are clear however; the guard reminded us that seats are for people only and at Peterborough we were duly ordered to deliver our carefully crafted friend to the dedicated luggage wagon at the front of the train.
The box was purposefully constructed to house a 1:150 context model of Bishop Auckland Town Square with ‘slot-inable’ building options for the site in question. The model was made for a meeting with Durham County Council and English Heritage at Auckland Castle that same afternoon.
Despite our ticket inspector’s fussiness, we were carried to our destination with the box and its contents in good order.
After a communal lunch with the review panel, the dozen-odd experts collected themselves around a table where the model had been assembled. The object took up so much space that notebooks occasionally and apologetically slid from the edges of the table.
For the following three hours, a multitude of building blocks representing different proposals for the new Welcome Building were inserted into the corner site. The new building is to link town and castle, engaging the new with the old, with our site at the axis of this pirouetting dance.
As we waltzed around the model, interchanging different pieces into our self-made jigsaw, a negotiation occurred between the many different people around the room, a parallel perhaps to the building itself.
During the second part of the afternoon, the presentation became more conceptual. The tower – the key feature of the proposal – was discussed in its meaning, shape and materiality. Was it a campanile, a siege tower, a lighthouse or a scaffold? Each version was debated with varying levels of approval or skepticism. We answered questions by pulling off bits of white card or finding any handy props to add on to the model; notepads, milk jugs and i-phones were used.
We left the meeting feeling excited, there was only this box to get all the way back to the office.
Image shows part of the paper model, with multiple versions scattered about, sitting on a windowsill after the meeting.
Anne Schroell studied at the Bartlett School of Architecture. She worked for Tonkin Liu and De Matos Storey Ryan as well as practices in Luxembourg and Austria before joining Niall McLaughlin Architects in 2006. The main projects Anne worked on are Deal Pier Café in Kent, Somerville College Student Accommodation in Oxford, Peabody Housing in London. She is currently running the Auckland Castle project which consists of 2 new buildings. One is a new gallery attached to the castle and the other is the Welcome Building and Tower for orientation and ticketing.
CLAD IN A GARMENT OF POETIC IMAGERY
JANUARY 2014
The following text seeks to explore the communicative role of architecture, highlighting how the buildings of Louis Sullivan offer an antidote to the stoicism of the modern movement.
The reasons for the adoption of a muted architectural language in the beginning of the 20th century were numerous, but perhaps the inability of architecture to communicate can be traced back to a Critique of Judgement wherein Immanuel Kant called for true artists to ignore conventional rules governing popular taste as a means to preserve the integrity of the artist / genius in the landscape of an emerging aesthetically uneducated middle class. The restriction of this Kantian ideology can be clearly seen in the modern movement where the elimination of ornament in favour of purely functional structures was meant to appeal to our morality. We were meant to appreciate their honest expression but this simplified architectural rhetoric stripped architecture of its ability to express meaning beyond its function and reduced the ability of the architect to infer a narrative.
It is here I believe that the architecture of Louis Sullivan offers a counterpoint to the stoicism of the modern movement. Sullivan’s response to the modernist doctrine was not to abandon ornament but to heed the advice of Owen Jones and devise a new and contemporary ornamental vocabulary. The Guaranty Building represents the high point of Sullivan’s communicative architecture. The building presents a veiled ornamental screen of rich terracotta tiles which act to delineate the tripartite composition of the facades. The ornament at the base of the building reflects the connections of its veiled steel structure which support the vertical mullions above. The repetitive program on the upper floors are articulated by a rigid pattern of piers and ornate spandrels. Sullivan completes the composition by employing a concave cornice which absorbs the vertical mullions and acts to complete a flowing continuous organic architecture.
‘Our buildings thus clad in a garment of poetic imagery… will appeal with redoubled power, like a sonorous melody overlaid with harmonious voices’[1] . Although Sullivan never acknowledged the influence of Semper, the Garment analogy used by Sullivan is a clear reference to Semper’s theory of dressing and his insistence that the ‘archetypal origin of built form was textile production’[2]. It is also indicative of the ‘strong influence that German culture had on Chicago in the 19th century’[3].
Ornament was for Sullivan and Semper a demonstration of essential artistic and social motives, ‘being fundamental, the wreath was not only initial, it was also profoundly significant because it manifested the unity of the social body, the people themselves’ [4.
Sullivan’s Architecture represents an alternative modernism where function and ornament were not considered to be in opposition but could coexist to create a symbolic architecture which sought to communicate.
[1] Louis H Sullivan, Kindergarten Chats, Dover Publications Inc, 1980
[2] Kenneth Frampton, Studies in Tectonic Culture, The MIT Press, 1995
[3] Ibid.
[4] David Leatherbarrow, The Roots of Architectural Invention, Cambridge University Press, 1993
Images from John Szarkowski – ‘the idea of Louis Sullivan’ Thames & Hudson, 2000
Joseph Mackey holds a BArch degree from University College Dublin. Joseph won an Architecture Association of Ireland Student Award in 2006 and the Arup Architecture Graduates Medal in 2010. Between 2006 and 2012 he worked with the Renzo Piano Building Workshop in Paris, Tom dePaor in Dublin and Eric Parry Architects in London. Since joining Niall McLaughlin Architects in 2012 he has been working on a chapel for monks in Dublin, the repair and extension of the old Radcliffe Infirmary Outpatients Building in Oxford and the T1 Building for Argent in King’s Cross, London. The T1 Building is a large mixed use development containing a district energy centre, an indoor sports pitch, car parking, shops, bars and 80 apartments.