UrbanitAs: The Other City Dwellers aka Urban Animals, Sweden Edition

UrbanitAnimals. We live side by side. We call them pests, vermins, #mprracoon, pets, …

As a common human behaviour, we exterminate the ones we afraid of, and do everything for keeping the ones we like around. The only thing we cannot do is to accept them as city-dwellers, just like us humans.

Here I present you UrbanitAs: The Other City Dwellers aka Urban Animals. This is a photo series formed by the photos I took at different times and in several cities.

I believe we are too late to acknowledge that we are just another species dwelling here on this planet. But, perhaps looking around while strolling on the streets and realising that we are already living with a bunch of others side by side even in the most human-made environment (aka cities) may change our perspective.

I was in Sweden for a conference and visited Uppsala and Stockholm. This edition is dedicated to UrbanitAs living in (and mostly flying over ) these two cities of the North.

 

DSC_0118

Advertisements

BEAUTÉ BRUT: Preston Bus Station

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)

Preston Bus Station by Building Design Partnership

Preston Bus Station by Building Design Partnership

Preston Bus Station

Image result for Preston bus station

Preston bus station © Alamy

 

 

Image Credits: Wikipedia, Lancashire Council, 20th Century Architecture, Dezeen, Tom Clarke, theplanner

BEAUTÉ BRUT: The Brunswick Centre, London

Brunswick Centre Bloomsbury

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)

 

Brunswick Centre

The Brunswick Centre ile ilgili görsel sonucu

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)

 

Brunswick Centre

File:Inside the residential area of the estate.jpg

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,

Stories Behind: A Duke with a Cone?

There are some statues that mark their presence with a twist. And, this is one of them: the statue of Duke of Wellington in Glasgow.

The statue is a part of the cityscape and famous with its cone on top of it.

The statue was erected in 1844. So, the story goes back some time. Not a definite one. It is not certain when the cone was first placed. But, one day, people of Glasgow woke up with a scene that an equestrian statue of a mighty Duke appeared to have a traffic cone on its head.

The statue was listed one of the top ten most bizarre monuments on Earth by Lonely Planet (inews). The statu is loved by the public and the tourists that it has many appearances such as the one below: a replica of the statue erected in the opening ceremony of Glasgow’s 2014 Commonwealth Games. Lovely, isn’t it?

duke of wellington cone statue

Image Credit: inews

Despite the statu’s popularity, the cone was removed and put back several times. The council even enacted some plans to end this tradition of putting the cone back. The plans were backfired, for obvious reasons. Who does not like a Duke with a cone? Why would it be another boring man with a horse?

The council had said that raising the height would end a practice which projected a “depressing image” of Glasgow and would save the £10,000 cost of removing the cone 100 times a year. The scheme would have seen a new granite-clad concrete base of 86cm (34in) added to the memorial to raise its overall height.

However, the council has reconsidered its decision after an online petition called “Save Wellington’s Cone”, which gathered thousands of signatories in just a few hours, and a Facebook campaign which had planned a rally in support of the cone.

A council spokesman said: “The wording of the report was appalling and the leader of the council (Gordon Matheson) has instructed officers to withdraw the planning application.” (BBC)

In addition, as the campaigners state “The cone on Wellington’s head is an iconic part of Glasgow’s heritage, and means far more to the people of Glasgow and to visitors than Wellington himself ever has.” (BBC). Also, in the campaign, there are a couple of good points which may affect the council’s decision such as  “does anyone really think that a raised plinth will deter drunk Glaswegians?”. Well, I agree with that!

There is one point we are not quite sure: What would Duke Wellington think about this? Luckily we have historians! According to inews, Dudley-Edwards argues that “Wellington himself would have been amused by the practice and embodied the ‘keep it coney’ ethos” as “He liked to keep it real”.

At the end of the day, the pair of the statue and the cone is a Rabelaisian embodiment, a standing in-your-face against mightiness of equestrian figures. While equestrian figures are usually associated with power and glorification of a person, the cone turns the statue into a human being again. It leaves you with a smile (and with a selfie apparently if you are visiting the city).

Even better, the statue is located right in front of the Gallery of Modern Art as the second twist in this story.

Yes, that is right. There is a classical equestrian statue right in front of a modern art gallery and it has a cone on the top of its head!

Bonus: A rare shot of the statue without a cone, but with a seagull!

 

(Image Credit: Top inews )

BEAUTÉ BRUT: Collegio del Colle, Urbino

 

Collegio del Colle, Urbino (PU), 1962-1965

Collegio del Colle is located in the hills of Urbino. It is the first one of four university colleges realized by De Carlo between 1973 and 1983. The sloping terraces follow the land shapes. De Carlo tries the interpenetration between the shapes of architectural volume and the morphology of Urbino. This section represents a cell, which is composed by two bedrooms in two different floors.
This group of building is mainly made of exposed bricks; the main structure and the cantilevered elements are made of reinforced concrete. Even if his architecture is a natural inclination of the hills, the materials he used underline their strong presence in the landscape. (Claretta Mazzonetto)

The early “collegio del colle” is formed by a central nucleus with collective services, surronded by several groups of small residential cells, lying on a hill near the city of Urbino. Concrete and brick constructive elements are in harmonic contrast with the landscape. The following three groups of “collegi” (vela, aquilone, tridente), were added between 1973 and 1983, creating a organic ensemble. (Francesco Di Bella)

 

Giancarlo De Carlo, Oscar Ferrari · Collegi Universitari a Urbino

 

Giancarlo De Carlo (1919-2005) has been one of the most influential figures of the Italian architectural scene of the second half of the twentieth century. A protagonist of the architectural debate since the mid-1940s, De Carlo visited Urbino for the first time in 1951, invited by the dean of the university, the writer Carlo Bo, who, in the following year, commissioned him the renovation of the ancient seat of the atheneum in the historic center of the city. Such a commission marks the starting point of the long relationship that ties the life and work of the architect to the city of the Marches: the collaboration first with the university and then with the municipality is kept alive up to last years before De Carlo’s death. (detailsinsection)

 

Giancarlo De Carlo, Oscar Ferrari · Collegi Universitari a Urbino

Giancarlo De Carlo, Oscar Ferrari · Collegi Universitari a Urbino

Giancarlo De Carlo, Oscar Ferrari · Collegi Universitari a Urbino

Giancarlo De Carlo, Oscar Ferrari · Collegi Universitari a Urbino

dormitory and cafeteria

 

Image Credits: sosbrutalism, istate, organiconcrete, wikimedia, spatialagency, divisare,

 

BEAUTÉ BRUT: Simon Fraser University

Erickson’s design was regarded as innovative in several key aspects. Its mountain top location inspired Erickson to reject multi-story buildings, which he felt would look presumptuous. Instead, Erickson turned for inspiration to the acropolis in Athens and the hill towns of Italy, where the mountain was incorporated into the design itself. This concept is evident in many aspects of the university’s design. For example, the manner in which the buildings are terraced to remain in harmony with the contours of the landscape and the emphasis upon the horizontal rather than the vertical expansion of the buildings themselves.

Another innovative aspect of the design was its rejection of the traditional separation of faculties and departments into individual buildings. In emphasizing the universality of the university rather than the specialization of knowledge, Erickson wanted to facilitate interdisciplinary work and a closer relationship between faculty and students. To this end, the design incorporated buildings which would house several departments as well as classroom space. This measure satisfied the practical requirements of both students and faculty by reducing the travel time between classes, as well as fostering an intimate learning environment. (Simon Fraser University)

 

Image Credits: Modernist Architecture, Wikipedia