HMS Queen Elizabeth with HMS Sutherland and HMS Iron Duke photo UK Ministry of Defence
The mainstream media seems to be getting dafter and dafter – perhaps in an effort to keep up with what passes as ‘news’ online. Take the latest ‘news’ that the new aircraft carrier HMS Queen Elizabeth, which is undergoing sea trials, has been leaking. Read on and it transpires that this is a faulty seal in a propeller shaft which is scheduled for repair while she is ‘alongside’ at Portsmouth. The repair will take a matter of days and be carried out by the shipbuilders at no cost to the navy and with no impact on the sea trials. HMS Queen Elizabeth is the largest warship ever built for the Royal Navy, she pushes the boundaries of cutting edge technology in many respects – but that was last week’s news. A minor snag, discovered during sea trials in a ship of this size is not news at all. In fact I’d be more worried if the technology used in such an important project was so ‘safe’ that there were no snags.
London Millenium Bridge photo Alison Wheeler
In the same way every architect designed building is a ‘one-off’ – responding to the client’s needs, budget, site, wider context etc. If there hadn’t been innovation with the attendant risks we’d still be living in caves.
My favourite example of the value of taking a risk is the delightful Millenium footbridge (the ‘wobbly bridge’) which cross the River Thames between the Tate Modern and St Paul’s Cathedral. The ‘blade of light’ design by Arup, Foster and Partners and Sir Anthony Caro initially suffered from lateral vibration caused by pedestrians crossing the bridge exacerbating the ‘wobble’ by matching their steps to it. The problem was solved at no cost to the client by the introduction of various ‘dampers’ to control movement. The bridge now looks impossibly slender – as it was intended to. If the designers had designed a risk free bridge at the outset, based on known technology, it would have been a lot more ‘clunky’ and less elegant than it is.
My career as a butterfly collector lasted the length of a childhood summer afternoon during which I netted, I think, a red admiral, a small tortoiseshell and a cabbage white before losing interest and becoming somewhat remorseful.
I remembered this little armageddon when I read about the ‘ecological Armageddon’ for flying insects that is currently being reported in the press. A 75% decline in 25 years in the total biomass of flying insects has been measured in nature reserves across Germany. More research is needed but if such a decline is for real and repeated across Europe it will have a disastrous effect on the ecosystem – including crops.
Step forward an unlikely hero – Michael Gove – who as environment secretary has just confirmed that the UK will support a ban on the use of neonicotinoids which is the group of neuro-active insecticides, chemically similar to nicotine, credited with the massive decline in the bee population. Hopefully he will move on to ban the array of other dangerous pesticides used in modern agriculture but Gove is not a believer in ‘experts’ (famously pronouncing during the EU referendum campaign that ‘people in this country have had enough of experts’) so might take no heed. He is not a believer in architecture either claiming as education secretary that the schools building programme was wasting money with architects ‘creaming off cash’. He went on to ban curves and reduce space for corridors, assembly halls and canteens in the ghastly standardised designs that he championed.
Let’s hope that as environment secretary he turns out to be more of a lover of the natural environment than the he was of the built environment when education secretary.
An interesting episode of ‘Analysis’ on BBC Radio 4 last week looked at the overdue restoration and renewal plan for the Grade I listed Houses of Parliament which MP’s are due to debate this autumn following a report by a parliamentary joint committee which warned of ‘an impending crisis‘. Apparently Barry and Pugin’s mid 19th century masterpiece is in a dire condition with problems that include a basement crammed full of electrical and data services from so many eras that nobody knows where many of them go, outdated fire safety measures, crumbling masonry, asbestos, outdated hot and cold water and outdated ventilation. The building could come to a sad end at more or less any time due to either a single catastrophic event such as a fire or a combination of system failures. The options are basic repairs, a partial move out and a full move out. None are cheap with the most expensive being costed at £7.1 billion.
Debating chamber Scottish Parliament
The necessity for this work is being seen by some as an opportunity to open up public access to the building and facilitate a new form of politics but why not relocate entirely? If we were starting with a blank sheet of paper (and £7.1 billion buys a pretty big sheet) nobody would locate Parliament at an inaccessible location in the heart of London in a building which reflects a Victorian style of politics. A return to the existing building is just so much nostalgia (‘a sentimental longing or wistful affection for a period in the past’). There is talk of temporary relocation outside London while the restoration is carried out but why not a permanent relocation and a single move to a ‘state of the art’ new home. Scotland got a new parliament and Wales got a new assembly.
It’s easy to be focussed on London and the south east but both are overcrowded and talk about investment in the regions needs to become action. It’s time to move Parliament to the heart of the UK to be closer to the people who elect it. The physical centre point of the United Kingdom is somewhere in Lancashire and the centre of the population is somewhere in Leicestershire. Either of these counties would welcome the massive investment as would cities like Birmingham or Manchester.
Why not a two stage competition? The first stage would be to select the location (like the competition to host the Commonwealth games) and the second stage would be an open architectural competition to select the architectural design. Barry and Pugin’s appointment for the current building was the result of a competition so there is plenty precedent and every reason to expect a successful outcome like there was 180 years ago.
Grenfell Tower fire 2017 photo Natalie Oxford
In her response to the Grenfell Tower Inquiry terms of reference the RIBA President Jane Duncan was right to draw attention the Institute’s disappointment ‘that the terms of the Inquiry do not explicitly mention the overall regulatory and procurement context for the construction of buildings in the UK. We consider this examination crucial to understanding the often complicated division of design responsibilities and the limited level of independent oversight of construction’.
I think the inquiry will highlight the inadequacy of the minimum standards of the current Building Regulations with regards to external cladding but it remains to be seen whether what was actually installed was even in accordance with them or in accordance with what was designed and specified.
By ‘independent oversight’ Ms Duncan means the appointment of an architect to administer the contract and make regular site visits to see that the materials and workmanship are in accordance with it. So much work nowadays is procured using the currently fashionable ‘design and build’ approach with no independent architectural input when the work is on site. This contrasts with the traditional approach where the contract is administered by the architect who acts as ‘impartial arbiter’ (independent of the client and the contractor).
‘Design and build’ may save some fees but at what cost if the work is incorrectly constructed? How do we know until it is too late if defective work is covered up – as it was in the case of the 17 schools that had to be closed in Edinburgh last year when the inexplicable absence of external cavity wall ties and internal masonry wall head ties was discovered after a wall fell down.
The Grenfell Tower Inquiry must make sure that it sheds light on the full context for the decisions that led up to the tragedy.
Ninewells Hospital Dundee
In my first job in the early 1980’s I worked in an office with an architect who had spent 15 years working in another practice on the Ninewells Hospital project in Dundee. Can you imagine it? 15 years on a single project! Ninewells was a famous example of one of those government funded projects that overran in both time and budget. The site was purchased in 1955 and the hospital eventually opened in 1974 with some sections not finished until 1975.
After experiences like that it was no wonder the government was attracted by the private finance initiative (PFI) approach to the procurement of public infrastructure projects. Complex and voluminous contracts dreamt up by lawyers and financiers, allowed private consortia to design, build, operate and maintain public facilities such as hospitals and the government could keep the capital costs ‘off balance sheet’. After dumping all the risk onto the private sector it should have come as no surprise that the private sector priced in this risk and healthy even excessive profits were made. The PFI has been responsible for producing some of the ugliest and most cheaply constructed buildings in modern times. The fees paid for architectural design were very low and, as the saying goes, ‘if you pay peanuts you get monkeys’.
The PFI was modified and improved in terms of design quality, risk transfer and more transparent accounting but this happened in parallel with the whole process becoming discredited and seen as poor value for money. So the PFI gravy train came to a halt.
Start the gravy train
But wait – the gravy train could be back on track (albeit heading in the opposite direction) as the shadow chancellor John McDonnell announced at the Labour Party conference last week ‘We have already pledged there will be no new PFI deals signed by us in government. But we will go further. It is what you have been calling for. We will bring existing PFI contracts back in-house’. So the lawyers and financiers will be back in business – this time preparing complex and voluminous contracts to unwind the existing ones that they created.
Why does designing and constructing buildings have to be so expensive and complicated?
Demolished ceiling at 15 Small Street Bristol.
Once again it takes some sort of ‘tragedy’ to make anything happen. In this case it’s the relatively minor ‘tragedy’ (by comparison to the havoc being wreaked by hurricanes in the Caribbean) of the demolition of an important ornate Jacobean ‘pendant’ ceiling at 15 Small Street in Bristol which has made the national news http://www.bbc.co.uk/news/uk-england-bristol-41109143. Dating from the 1620s, the ceiling was demolished by its owner in a successful pre-emptive bid to avoid it being listed by Historic England. The building was the subject of a planning application for sub-division into student flats. Bristol’s Conservation Advisory Panel applied for it to be spot-listed. The building was being assessed but the owner deferred a scheduled site visit by Bristol City Council planning officers and before an inspection could be arranged the ceiling was demolished.
The straightforward ‘legal’ answer is that the building was not listed and the ceiling was the property of the owner so nothing illegal occurred. Buildings are either protected by listing or they are not. The owner most likely took advice on the legal position before acting.
Firestone Factory, London – before demolition in 1980
The Bristol case has echoes of the infamous case of the art deco Firestone Factory in London which was demolished over a bank holiday weekend in 1980 in anticipation of it being listed. Apparently the preservation order was prepared but nobody was available over the bank holiday to sign it. The outcry led to the listing of 150 examples of early modern architecture.
But the case highlights a need to provide interim protection for buildings being considered for potential spot-listing. The non ‘legal’ point of view is that historic assets are held in trust for future generations. A balance needs to be struck. Not least because there would be a disincentive to own and take care of historic buildings if the constraints of listing made them impossible to use.
Similarly mature trees are either protected by a Tree Preservation Order (TPO) or they are not. From time to time I have to advise clients in advance of making a planning application that would impact the roots or canopy of adjacent, sometimes mature, trees that it would be in their interest to fell the trees before a planning application is submitted if they are not the subject of a TPO as otherwise they would become a material consideration in the planning process which could adversely impact the success of what is being proposed. So we are all in this (though a tree can be replaced but a Jacobean ceiling can’t) . We want to maintain the best of what is there but we also want to see progress. Removing the prosecution-free period between an application for a spot-listing and the decision would be a sensible balance between the narrow sanctity of private property ownership and the broader notion of the importance of retaining ‘collective memory’.
Moulded plywood chair, designed by Grete Jalk, 1963 photo Victoria and Albert Museum.
Edie Stool by David and Joni Steiner photo Victoria and Albert Museum
An exhibition themed around a material is a hard act to pull off particularly where the material is as commonplace as plywood but the Victoria and Albert Museum’s exhibition ‘Plywood: Material of the Modern World’ makes a great success of it. Not too short to be insubstantial yet not too long to be boring and with a great story to tell.
Plywood is of course a sheet material manufactured from thin layers of wood veneer glued together with adjacent layers having their grain rotated by 90 degrees giving it strength, dimensional stability and light weight.
De Havilland Mosquito
The exhibition covers the history of the material and its diverse uses which include furniture, aircraft and buildings etc. It brings the story up to date with the opportunities for the mass manufacture of plywood pieces using digital design files anywhere in the world where there is access to a digital cutting machine.
De Havilland Mosquito
At the part of the exhibition dealing with aircraft I thought of my uncle, Squadron leader Bill Brodie DSO DFM, who piloted mosquito bombers during the second world war. Nicknamed ‘the wooden wonder’ the De Havilland Mosquito was constructed almost entirely of plywood – the fuselage was a monocoque design that came together in two halves lengthwise.
Unfortunately later on I also thought of IKEA. I’m at the stage where I hope to never see another piece of flatpack furniture. What IKEA sells is cheap and some of it is well designed but you have the overwhelming impression that most of what you are looking at is going to end up in a skip in the not too distant future. You can furnish a teenage student’s flat with it and not feel the need to enquire what has become of it when the course is over.
Used creatively and true to its nature (ie celebrated for what it is with its qualities dictating the way in which it is used) plywood can be a super and cost effective choice. I just finished a refurbishment project with a bespoke plywood kitchen by Mark Heeler Kitchens. The minimalist aesthetic featured clean lines with exposed plywood faces and edges.
When I took up my first job in London in 1985 a colleague brought in the just published book ’Cult Objects’ by Deyan Sudjic which looked at how certain mass produced designed objects had become cultural icons that gave their owners a special status. These simple well designed objects gave a thinly coded message that marked out those who possessed and used them as fashionable, discerning, modern, educated etc. The list included Ray-Ban sunglasses, the Braun ET 22 pocket calculator, the Swiss Army pen knife, the Polaroid camera, the Filofax personal organiser and so on. We had a lot of fun deciding which ‘poseur’ amongst us owned the most of them (it was the guy who bought the book). The point of the book was to address the tricky question of what constitutes good design and what value it has.
Design Museum Atrium
Design Museum Atrium
Deyan Sudjic is nowadays the director of the Design Museum in London which recently reopened in its new home in the former Commonwealth Institute building at the edge of Holland Park in Kensington. We visited a few weeks ago to take a look.
The Commonwealth Institute building was always a seriously weird building only redeemed by its unusual hyperbolic paraboloid roof (think of the shape of a Pringle crisp). The roof was presumably originally conceived as a metaphorical ‘big tent’ to house an exhibition about the Commonwealth nations. The same roof now serves as a metaphorical ‘big tent’ to house the broad church that is ‘design’. The building is laid out with a central atrium with spaces around it – permanent and temporary exhibition spaces, learning and event spaces, a members space, designer residency studios, a café, a restaurant and a shop. The architectural detail is very crisp making the building itself the star of the show and an exemplary example of sustainable design in the form of adaptive reuse.
Design Museum Designer / Maker / User Exhibition
Design Museum Atrium
The permanent exhibition entitled ‘Designer / Maker / User’ features 1000 items of twentieth and twenty-first century design viewed from the point of view of the designer, maker and user. When we visited there was an interesting exhibition on the iconic wristwatch designs of Cartier. But the exhibitions are kind of tucked away because the Design Museum is not really about objects. There is no way that a bunch of mass produced designed objects could compete with the world class art in London’s galleries. It is about education, understanding, possibilities, processes and impacts.
If the building itself is the star of the show it begs the question of what the museum is supposed to be about. Just because ‘design’ exits doesn’t mean we have to put a museum around it. The tricky question remains of what constitutes good design and what value it has and whether this is best explored in a book or in a museum or in a design philosophy class.
Grenfell Tower fire 2017 photo Natalie Oxford
Much has already been written and said and much more will follow on the tragic and preventable loss of life in the Grenfell Tower fire.
Why does it take a tragedy like this to bring about overdue change particularly when it was predicted? This was not an ‘act of god’ but the predictable outcome of a chain of causes. Fire safety experts have been lobbying for changes to Part B of the Building Regulations (Fire Safety) for years but successive governments have failed to act. A version of the same thing happened in the Lakanal House fire in Camberwell in 2009 but the coroner’s recommendations were not acted upon.
Ronan Point collapse 1968
It took the Ronan Point disaster in Newham in 1968 for regulations on disproportionate collapse (to prevent buildings suffering collapse disproportionate to the cause) to be brought in and it took the catastrophic fire in the Summerland pleasure complex on the Isle of Man in 1973 for regulations on compartmentation and surface spread of flame to be brought in.
Summerland fire 1973 photo Noel Howarth
On Grenfell Tower it appears that the retrofitted external cladding was the main cause. It was classified as Class 0 surface spread of flame but was not FR60 fire resistant – something that would not have been permitted prior to 1986. The building was fire compartmentalised between individual flats but had no defence against the exterior being enveloped in fire and the fire breaking back in. Internal sprinklers would have helped but their absence was not the main cause. That is my take on it from what I’ve read but the Public Enquiry will get to the bottom of it.
One thing I’m sure about is that under the pressures of competitive tendering the main contractor’s price and the cladding subcontractor’s price will have been driven down to the absolute minimum. They will have done no more than comply with the minimum requirements of the Building Regulations as if they had done more they might not have won the tender (although there may be an issue about what they ought reasonably to have known based on emerging experience of fire risks that could have required a higher standard of fire resistance). Let alone the inadequacy of the current Building Regulations it remains to be seen whether what was designed and actually installed was even in accordance with them. Presumably areas of the cladding on the lowest floors of the tower, which appears to be still intact, will be carefully dismantled and inspected.
In terms of identifying the culprits we need to look beyond the main contractor and sub contractor and include the council which set the budget, the government which set out the regulatory framework and ultimately ourselves on the basis that collectively we allowed this to happen.
Snap Inc has launched its video-record spectacles in the UK. They include a camera lens and record 10-second video clips in a circular format. Very James Bond and the start of something big.
Snapchat video record spectacles
These eyewear ‘computers’ will only get smaller and more powerful. They will capture a huge quantity of information which can be stored for future use raising moral and ethical issues that Snap Inc don’t even begin to address on their website. In fact I don’t think much has been said on this front largely because nobody knows what, if any, impact this technology is going to have on our behaviour.
They’re obviously all about fun but one serious application could be in mapping. Eyewear video clips will allow a library of places and spaces to be created. It’s like a mini version of 3D laser scanning which involves a camera like device to capture and create a 3D model of a place or space.
Another application could be in urban design where video records will improve our understanding of how the built environment is navigated. The choices we make, the signals we pick up on, the routes we take and what we look at as we travel. Urban planners already have a set of theories around the navigability of the built environment known as ‘space syntax’ which uses mathematical algorithms and geospatial computer technology to analyse and predict the choices and flows of people in open space. It is used in urban design and by architects in the layout of museums, airports, hospitals etc where predicting the use of space is fundamental to the success of a design.
Nolli Map of Rome (detail) 1748
We’ve come a long way from the earliest study of the navigability of open space which was the Nolli Map of Rome. In 1736 Pope Benedict XIV commissioned Giambattista Nolli to create the most accurate plan of Rome ever made. In his famous revolutionary map of 1748, instead of illustrating streets Nolli illustrated public space including semi private open spaces such as the inside of the Pantheon and the colonnades at St Peter’s Square. So it was a map of all the accessible spaces of Rome with no distinction between inside and outside only between accessible space and mass.
By the looks of it we’re soon going to have a Nolli style video record of just about everywhere soon. What we do with it is anyone’s guess.