NIALL MCLAUGHLIN RECEIVES AN HONORARY ROYAL DESIGNER FOR INDUSTRY AWARD
DECEMBER 2015
The title ‘Royal Designer for Industry’ is awarded annually by the Royal Society of Arts to designers of all disciplines who have achieved ‘sustained design excellence, work of aesthetic value and significant benefit to society’. The RDI is the highest accolade for designers in the UK; only 200 designers can hold the title and non-UK designers may receive the honorary title Hon RDI.
This year there were 8 RDI’s awarded. Alongside Niall McLaughlin were Ronan Bouroullec and Erwan Bouroullec who both also received an Hon RDI for their progressive and influential work across products, furniture and public spaces and impact on contemporary design culture, Michael Anastassiades RDI for his excellence and innovation in lighting design and supporting young designers, manufacturing and making in the UK, Kate Blee RDI for contributing her outstanding expertise in textiles to social investment projects and therapeutic public spaces, Kim Colin RDI for her sustained excellence in product design and applying design thinking to create thriving and sustainable enterprises, Karen Nicol RDI for pushing new boundaries in fabric and stitch design, promoting recycled textiles and designing for Fine Cell Work that teaches creative needlework to prisoners and David Pearson RDI for his distinctive and innovative contribution to British publishing and commitment to design education.
The Royal Society of Art’s Chief Executive Matthew Taylor commented ‘The RSA is committed to encouraging and rewarding outstanding designers who challenge convention, discover new insights, and improve our quality of life. These eight leading practitioners are from wide-ranging disciplines and are united by a driving commitment to innovate, create, educate and inspire others through design’.
Current architects with the title of Royal Designer of Industry are; David Chipperfield, Peter Clegg, Edward Cullinan, Norman Foster, Eva Jiricna, John Pawson, Alan Stanton, Sarah Wigglesworth, and Paul Williams.
Current architects with the title of Honorary Royal Designers are; Mario Bellini, Andrea Branzi, Antonio Citterio, and Peter Zumthor.
REFLECTIONS ON IMAGES OF HERITAGE
OCTOBER 2014
A few months ago I revisited my 5th year dissertation: “The Parthenon (Elgin) Marbles; their essence and their absence”, as the possibility of writing a joint article with my MSc supervisor arose. Reading it again after so long felt like meeting an old friend; familiar and at once curiously foreign.
The much-contested issue of the Parthenon (Elgin) Marbles is well known. Since 1965 it is the subject of international political debate while by the mid ‘80s, when the first official request to the British government for their reinstitution was made, it became a national issue. The British arguments for the non-repatriation are also well documented and until now neither the British Museum nor the British Government seem particularly keen to return them.
This however had not been the burning question in mind when writing the dissertation. Having assumed that they would not be returned (and not really questioning it as right or wrong) what intrigued me was how the building, having been proclaimed a catalyst for their return, would be designed to deal with their probable absence.
Until and including 2008 the widespread rhetoric was that the spaces must remain empty in anticipation of their return so as to remind the viewer that the museum will “remain incomplete as long as the Elgin Marbles sit in the Duveen Room of the British Museum”[1]. Upon the museum’s completion however the adopted solution was to exhibit casts of the missing pieces instead, “in order to suggest to the viewer how the monument might look like when complete”[2]
Having traced the history of the display of the Parthenon Marbles in Britain and at the British Museum (ranging from the ‘cabinet of curiosities’ approach through to a more modern curatorial attitude) and the influence they had had in its architecture, I approached the subject through a ‘semiology’ lens and considered the philosophy and meaning of ‘void’ while examining architectural examples of how empty spaces, when displayed correctly, can have a powerful meaning. The resulting conclusion was that even if the Parthenon Marbles were never exhibited within the new museums’ walls, their absent presence could still be felt through a careful portrayal of their void so as not to resort to a seemingly trite and rather defeatist attitude of using a plaque or indeed casts. Evidently, the message of the void would need to be conveyed in a way as to allow an ‘open’ reading while not being so ‘open’ that it prevents us from recognising in the message a formalizable structure.[3] An empty space would then not appear as “a deficiency, a failure to fill up a cavity or gap… but a bringing – forth.”[4]
Looking back now, the discourse was interesting if slightly self-righteous. Inadvertently, the conclusion reached could read as a glorified absence that would become a pressure vehicle for their return, because it is where they belong. But do we own heritage? Heritage is thought of as underpinning our roots and the importance we bestow on the material culture “plays a vital representational role in defining national identity”[5]; as such any discourse is incredibly complex and inherently political, so much so that it becomes personal.
When I first saw an image of the façade for the athlete’s residential building within the Stratford regeneration I thought it superficial, an ornament of post colonisation, almost hubristic. Reading Niall’s ‘Peplos: The dissimulating façade’ got me thinking about this more. When the Marbles were removed from the temple they began a different journey, their identity was altered “from deep walling elements to thin relief panels” while “their dissolution, replication and dispersal”[6] made them idealistically present but always lost [7]; they don’t ‘belong’ anywhere. Maybe this facade should not be offending me but helping me to recognise the expression of appreciation for the ‘lost’ pieces of a timeless masterpiece that could almost read as a celebrated protest.
…
[1] Sands, H. (2008) “Henry Sands says Athens’ new museum is missing its Marbles” Acropolis Now [online] http://www.elginism.com/new-acropolis-museum/the-new-acropolis-museum-needs-its-marbles-to-complete-it/20080827/1289/ (Accessed 3rd March 2013)
[2] Plantzos, D. (2011) “Acropolismus”, Antiquity, no.85, p.623, [Online] http://antiquity.ac.uk/ant/085/ant0850613.htm (Accessed 9th October 2012)
[3] Caesar M. (1999) Umberto Eco: Philosophy, Semiotics and the Work of Fiction, Polity Press, Cambridge, p.65.
[4] Leach N. (1997) Rethinking Architecture: A Reader in Cultural Theory, Routledge, Taylor & Francis group, London, p.123.
[5] Smith, L. (2006) Uses of Heritage, New York, Routledge, p.48
[6] McLaughlin, N., (2012) “Peplos: The Dissimulating Façade”in Archithese.
[7] Ibid.
Pinelopi Antoniou studied at the University of Cambridge and the Edinburgh College of Art. She holds a BArch (Hons) and a Diploma in Architecture. She was nominated for the RIBA President’s Medal in 2005. She joined Niall McLaughlin Architects in 2013 and has worked on a private house in London, a private house in the Cotswolds and is currently on the Outpatients building in Oxford.