A shopping centre, part of the development and dominated by a large John Lewis store, is named Grand Central: New York Grand Central Station is clearly the model, but is a far more impressive space- and dominated by an Oyster Bar rather than yet another branch of Pret a Manger ! The exterior, largely reusing the existing concrete frame of the replaced building is animated by twists and turns of faceted stainless steel cladding. An island site in the heart of the city, it is surrounded by streets both major and minor, and the facade's dazzling reflections are successful in bringing something strange and futuristic to the nineteen and twentieth century context that surrounds it.
The reconstructed Birmingham New Street station opened yesterday 20 September, almost exactly two years after the opening of the new Library of Birmingham. Unlike that major and acclaimed project by Mecanoo, however, the architect has been nowhere to be seen in the fairly extensive media coverage- Alejandro Zaera-Polo of Foreign Office Architects with his then partner Farshid Moussavi got the commission in 2007 but walked off the job when, among other changes, cost cutting led to the replacement of the concrete of the atrium interior with stretched fabric. However much of the original design remains, it's highly regrettable and short sighted that a bold and highly original design should have been so compromised: imagine if Network Rail's in-house architects had been given the commission in the first place ?
A shopping centre, part of the development and dominated by a large John Lewis store, is named Grand Central: New York Grand Central Station is clearly the model, but is a far more impressive space- and dominated by an Oyster Bar rather than yet another branch of Pret a Manger ! The exterior, largely reusing the existing concrete frame of the replaced building is animated by twists and turns of faceted stainless steel cladding. An island site in the heart of the city, it is surrounded by streets both major and minor, and the facade's dazzling reflections are successful in bringing something strange and futuristic to the nineteen and twentieth century context that surrounds it.
23 Comments
The architectural photographer Simon Kennedy has an exhibition of his work opening this evening
1 September at the Fitzrovia Gallery 139 Whitfield St London W1T 5EN. I have written a text to accompany the images, part of which follows. The show runs until 12 September. The photographs seen in Constructed Images show Wolfson House in central London: formerly used as a laboratory, it is presented empty and unused. A building of everyday modernism, it was built at a time when architecture was built to an ideal, with the integrity of real materials and building elements rather than the simulacra of the post modern condition. Each photograph is a construction, a photomontage of images from divergent space and time, so the photographs demand careful scrutiny. There is a dislocation of elements to create new formal configurations: staircases that lead nowhere, windows that are fractured, a play of spaces that makes no sense. A faceted, fragmented montage of recognisable components, presented both in positive and negative images: and these elements are carefully juxtaposed and transformed into a new unity, reimagining modernist qualities. These constructed images are very much redolent of the analytical Cubism that influenced them, but also at a smaller scale echo the construction of architectural images by other contemporary artist-photographers such as Andreas Gursky or Beate Guetschow. These uninhabited spaces are re-made into new intriguing configurations, shaped by the utopian impulse of modernism. They present an intriguing play with time and circumstance to build an alternate photographic language of architecture. |
Archives
September 2020
Categories
All
|