Completed in 1969 by Keith Ingham and Charles Wilson, a pair of architects working for British firm Building Design Partnership (now known as BDP), the 170-metre-long structure became the largest bus station in Europe and a poster child for the Brutalist style.
The colossal scale of the structure – it boasts 40 gates for double-decker buses on both its east and west sides – is seen as both the building’s greatest feature and, by some, its failing. It faced demolition in 2013, following reports that a much-needed renovation could cost as much as £23 million due to the size of the project. But its popularity amongst both local residents and architects led to a heritage listing that blocked any future redevelopment of the site. (Dezeen)
Now, as its renovation is completed, it’s plain that the bus station deserves to stand alongside the other robust civic masonry that Preston, like many industrial cities, boasts: the neo-Greek Harris Museum and Art Gallery; the Edwardian baroque Sessions House. (Guardian)
Image Credits: Wikipedia, Lancashire Council, 20th Century Architecture, Dezeen, Tom Clarke, theplanner
The Brunswick Centre – an early experiment in planned mixed-use development of housing with retail and commercial uses – occupies a city block between the Russell and Brunswick Square Gardens, with Coram’s Fields lying to the east. The centre is well served by the nearby Russell Square underground station. (academyofurbanism)
The site was originally occupied by Georgian townhouses on the estate of the Foundling Hospital. During the mid 1950s this was bought by a private developer whose plan from the outset was to clear the site to make way for two 25-storey tower blocks containing luxury flats and retail. These proposals were resisted by the borough of Camden and the developer was recommended to the consult the renowned post-war architect Leslie Martin. He championed low rise development and maintained that an equal density of development could be achieved on the site with two parallel blocks. At this stage he handed the project to Patrick Hodgkinson to take forward. (academyofurbanism)
Development commenced in 1967 and was finally completed in 1972. However, the original developer went bankrupt during construction and the project was sold to Sir Robert McAlpine construction. The housing element was bound into contractual obligations and completed as per the original design. After the 1964 general election, furnished tenants were given security of tenure, and Camden Council agreed to rehouse in social housing all existing tenants. (academyofurbanism)
The compound appeared in various popular media pieces such as in the movie The Passenger (1975) as Jack Nicholson visiting the centre and even the Finnish group Lodgers wrote a song for the Brunswick Centre. It has been more than a half of a century, it is still alive and kicking!
(Image Credits: e-architect, Guardian, londonist, academyofurbanism, timeoutlondon,
Mackintosh Tower, The Lighthouse, Glasgow
This literature mapping focuses on place-making literature and presents a cross-disciplinary cut of current literature.
As part of the mapping process, ‘literature mapping’ is developed as a methodology to produce a broad literature mapping in a limited timeframe. This working paper presents the research methodology by discussing its development processes (comparing and contrasting available academic indexes, their limitations and strengths, and recommendations on their future use).
The mapping reviews the aspects of place-making literature through related concepts, emerging trends, sub-fields and emerging research interests from various disciplines.
The results show an extensive interest in various disciplines in place-making as a concept and in its various aspects, as well as demonstrating the increasing interest in urban design literature in social and perceptual aspects of design.
Check full text here.
For more publications by CaCHE click here!
(Image Credit: Place Brand Observer)
As folks of great Earth, Wind and Fire told us, it is All About Love, and Fred Kent from the Projects for Public Spaces cannot agree more!
Places exude a kind of magnetism, a draw that brings people closer together—lovers and strangers, alike. Whether sharing a kiss, or simply sharing a bench, there are endless examples of closeness and affection all brought about by great public spaces.
This affection isn’t just icing on the cake; it’s a basic human need. “It’s a big idea, affection,” observes PPS founder Fred Kent, “because it’s everywhere. Every community, every culture, every human being has a need for affection, for engaging with people, for connecting with people.” As our recent Healthy Places report reveals, social support and interaction provides important benefits to mental wellbeing and feelings of safety. Meanwhile, social isolation contributes to depression, stress, and can also undermine a community’s resilience in the face of disaster.
But affection relies on a deep sense of comfort. People must feel physically and mentally at ease before they open up to show signs of love and friendship. (Project of Public Space)
Check this great article on what makes public spaces places for people!
Or you can just listen to the folks below.
The trees and the birds
And if there ain’t no beauty
You gotta make some beauty
Listen to me, y’all
We all love metro maps, which is clear regarding the franchase produced with them. Mugs, ties, tot bags,….
But, how the idea came to life is a different story.
Small Thing. Big Idea., a TED series “celebrates the lasting genius of everyday objects so perfectly designed that they changed the world around them”, presents the creation of one of the greatest maps of all times : the metro maps!
Click here to watch! Enjoy!
Kor Dwarshuis visualised Airbnb boom in Amsterdam, Barcelona, Berlin and New York since the foundation of Airbnb to 2017.
The maps show the striking increase in the numbers as well as the distribution and clustering of the Airbnb flats in these cities.
The maps also pose a question of the commodification of the couch as well as the scale of the unregulated holiday lets in these major cities.
It is also quite fun to explore 🙂 Click here to see more.
A Guardian investigation revealed the expansion of pseudo-public spaces in London recently.
Pseudo-public spaces – large squares, parks and thoroughfares that appear to be public but are actually owned and controlled by developers and their private backers – are on the rise in London and many other British cities, as local authorities argue they cannot afford to create or maintain such spaces themselves.
Although they are seemingly accessible to members of the public and have the look and feel of public land, these sites – also known as privately owned public spaces or “Pops” – are not subject to ordinary local authority bylaws but rather governed by restrictions drawn up the landowner and usually enforced by private security companies. (Guardian)
The map demonstrates the locations and distribution of these spaces in London. It lists 46 known pseudo-public spaces in the city. The expansion of these areas is quite widespread within the city boundaries.
This is a critical issue regarding the role of public spaces in socialisation as well as citizen’s right to access to open spaces. These privately-owned spaces are accessed by the discretion of the landowners as well as controlled by the private security staff in some cases, which means that the use of the space and the behaviours within these spaces are also under control by some rules other than laws or common legislations.
It gets interesting when 12 other cities, including Manchester, Liverpool, Birmingham, Leeds and Glasgow, rejected revealing the information about the pseudo-public spaces located ion these cities. This poses a question of the level of expansion of these spaces. It also poses another, and even more critical question regarding the production and perception of public space:
Is pseudo-public space becoming a mainstream way of public space provision in the UK?
Paulo Mendes da Rocha’s Brazilian Museum of Sculpture in São Paulo, Brazil is a simple yet provocative design that uses a large beam to give the museum a presence, while also fulfilling the need for shade and shelter for the exterior plaza. (Archidose)
Though MuBE took shape in the late 1980s, significantly after Brutalism’s heyday, it is a striking example of the Paulista School style—the international movement’s Brazilian iteration. As such, Mendes da Rocha—who received a Golden Lion at this year’s Venice Architecture Biennale and the 2006 Pritzker Prize—embraced the large-scale, bulky forms that raw concrete naturally facilitates, manifested in the nearly-200-foot beam atop the museum. Containing offices, an art school, and open, concrete galleries, the museum itself is built largely below ground, so as to respect the surrounding green space. (Rachel Lebowitz)
Image Credits: Archdaily, Danda, Artsy