INTRODUCTION
This is an unusual sort of guide. Rather than offering the choices of a single authority on architecture, Best Buildings – Britain relies on the combined efforts of 31 enquiring and idiosyncratic minds. Starting in London, the book takes you on an illustrated nationwide tour of 75 buildings completed since 1918. To arrive at this point, we invited a wide selection of architects and experts to list ten of their favourites. Those who were kind enough to respond submitted a tremendously diverse selection — some chose more than ten, some chose fewer; some even bent the rules a little. Every one of those lists is reproduced in full at the end of the book and, from all these, 75 buildings were picked for the main section. Some choices are instantly recognisable and would rightly appear in any selection of the greatest. Certain buildings (such as the De La Warr Pavilion, the Royal Festival Hall and the Lloyd’s Building) sailed through the process, coming up again and again. Similarly, a few key names (Lasdun, Lubetkin, Smithson, Stirling) featured on many lists. Alongside those, however, there are plenty of surprises. Aside from the main 75, the lists at the back offer you the details of over 100 more buildings to rediscover, or perhaps to encounter for the first time. The choices are so varied that almost everyone will stumble upon something unfamiliar. Several have already been demolished. A few are not strictly buildings at all. At least three of them never really existed in the first place.
INTRODUCTION
This is an unusual sort of guide. Rather than offering the choices of a single authority on architecture, Best Buildings – Britain relies on the combined efforts of 31 enquiring and idiosyncratic minds. Starting in London, the book takes you on an illustrated nationwide tour of 75 buildings completed since 1918. To arrive at this point, we invited a wide selection of architects and experts to list ten of their favourites. Those who were kind enough to respond submitted a tremendously diverse selection — some chose more than ten, some chose fewer; some even bent the rules a little. Every one of those lists is reproduced in full at the end of the book and, from all these, 75 buildings were picked for the main section. Some choices are instantly recognisable and would rightly appear in any selection of the greatest. Certain buildings (such as the De La Warr Pavilion, the Royal Festival Hall and the Lloyd’s Building) sailed through the process, coming up again and again. Similarly, a few key names (Lasdun, Lubetkin, Smithson, Stirling) featured on many lists. Alongside those, however, there are plenty of surprises. Aside from the main 75, the lists at the back offer you the details of over 100 more buildings to rediscover, or perhaps to encounter for the first time. The choices are so varied that almost everyone will stumble upon something unfamiliar. Several have already been demolished. A few are not strictly buildings at all. At least three of them never really existed in the first place.
And even if nothing here is completely new to you, there is still the fascination of seeing who has picked what, which choices are shared, and which turn out to be lone pleasures. Thank you to every contributor that took the trouble to agonise over a selection of buildings for this book. We hope it offers you a fresh perspective on 100 years of British architecture.
Matthew Freedman
And even if nothing here is completely new to you, there is still the fascination of seeing who has picked what, which choices are shared, and which turn out to be lone pleasures. Thank you to every contributor that took the trouble to agonise over a selection of buildings for this book. We hope it offers you a fresh perspective on 100 years of British architecture.
Matthew Freedman
CONTENTS Map of London ______________________________ 8
22 22
Centre Point (London, 1966)___________52
45 45
Hastings Contemporary (Hastings, 2012)__98
68 68
Dunelm House (Durham, 1966)_________144
Map of the United Kingdom____________________ 9
23 23
Balfron Tower (London, 1967)__________54
46 46
Marine Court
69 69
Byker Estate (Newcastle upon
24 24
Hayward Gallery, Purcell Room & QEH
1 1
Granada Cinema – Tooting (London, 1931)___ 10
2 2
Arnos Grove Underground Station
(London, 1968)____________________56 25 25
(London, 1932)____________________12
(St Leonards-on-Sea, 1938)____________100 47 47
1 Kemble Street – Space House
Tyne, 1982)______________________146
De La Warr Pavilion
70 70
Bernat Klein Studio (Galashiels, 1972)_____148
(Bexhill-on-Sea, 1935)_______________102
71 71
Scottish Parliament (Edinburgh, 2004)____150
72 72
Italian Chapel (Lamb Holm,
(London, 1968)____________________58
48 48
Embassy Court (Brighton, 1935)________104
26 26
NLA Tower (Croydon, 1970)___________60
49 49
Tricorn Centre (Portsmouth, 1966)______106
3 3
Broadcasting House (London, 1932)______14
4 4
Daily Express Building (London, 1932)____16
27 27
National Theatre (London, 1976)________62
50 50
Creek Vean House (Feock, 1966)________108
5 5
The Isokon Building (London, 1934)______18
28 28
Alexandra & Ainsworth Estate
51 51
Castle Drogo (Drewsteignton, 1930)_____110
6 6
Penguin Pool – London Zoo
(London, 1978)____________________64
52 52
Upper Lawn Pavilion (Tisbury, 1962)_____112
74 74
St Peter’s Seminary (Cardross, 1966)_____156
53 53
David Murray John Tower
75 75
Ulster Museum (Belfast, 1972)__________158
(London, 1934)____________________20
29 29
Branch Hill Estate (London, 1970)_______66 Barbican Complex (London, 1982)_______68
Orkney, 1945)_____________________152 73 73
St Bride’s Roman Catholic Church (East Kilbride, 1964)________________154
7 7
RIBA Headquarters (London, 1934)______22
30 30
(Swindon, 1976)___________________114
76
8 8
Highpoint I & II (London, 1935 & 1938)____24
31 31
Lloyd’s Building (London, 1986)_________70
54 54
Monk’s Rest (Pinner, 1926)____________116
77
9 9
Simpson’s (London, 1936)_____________26
32 32
Pumping Station Isle of Dogs
55 55
The Sugden House (Watford, 1956)______118
78
Appendix________________________160
10 10
Peter Jones (London, 1937)___________28
(London, 1988)____________________72
56 56
Turn End (Haddenham, 1967)__________120
79
Index___________________________194
80
Photocredits______________________196
11 11
Finsbury Health Centre (London, 1938)___30
33 33
Lisson Gallery (London, 1992)__________74
57 57
St Catherine’s college (Oxford, 1964)_____122
12 12
1,2, 3 Willow Road (London, 1939) ______32
34 34
No. 1 Poultry (London, 1197)___________76
58 58
Florey Building (Oxford, 1971)__________124
13 13
Royal Festival Hall (London, 1951)_______34
35 35
Lord’s Media Centre (London, 1999)_____78
59 59
AIROH houses (Cardiff, 1946-1951)______126
14 14
Keeling House (London, 1959)_________36
36 36
Peckham Library (London, 2000)_______80
60 60
Coventry Cathedral (Coventry, 1962)_____128
15 15
Commonwealth Institute (London, 1962)___38
37 37
Tate Modern (London, 2000 & 2016)_____82
61 61
New Art Gallery Wallsall (Walsall, 2000)___130
16 16
Royal College of Art (London, 1963)_____40
38 38
Laban Dance Centre (London, 2003)_____84
62 62
Engineering Building (Leicester, 1963)____132
17 17
Royal College of Physicians
39 39
London Aquatics Centre (London, 2011)___86
63 63
Boots D10 Pharmaceutical Building
(London, 1964)____________________42
40 40
The Shard (London, 2012)____________88
18 18
Post Office Tower (London, 1964)_______44
41 41
Kettle’s Yard (Cambridge, 1970 & 2018)___90
19 19
Economist Plaza (London, 1964)________46
42 42
Sainsbury Centre for Visual Arts
20 20
Elephant & Rhinoceros Pavilion
21 21
6
(Beeston, 1932)____________________134 64 64
Liverpool Metropolitan Cathedral (Liverpool, 1967)___________________136
(Norwich, 1978)____________________92
65 65
Preston Bus Station (Preston, 1969)______138
(London, 1965)____________________48
43 43
Willis Building (Ipswich, 1975)__________94
66 66
The Lawns (Cottingham, 1967)_________140
Snowdon Aviary (London, 1965)________50
44 44
A House for Essex (Wrabness, 2015)_____96
67 67
Apollo Pavilion (Peterlee, 1969)_________142
7
CONTENTS Map of London ______________________________ 8
22 22
Centre Point (London, 1966)___________52
45 45
Hastings Contemporary (Hastings, 2012)__98
68 68
Dunelm House (Durham, 1966)_________144
Map of the United Kingdom____________________ 9
23 23
Balfron Tower (London, 1967)__________54
46 46
Marine Court
69 69
Byker Estate (Newcastle upon
24 24
Hayward Gallery, Purcell Room & QEH
1 1
Granada Cinema – Tooting (London, 1931)___ 10
2 2
Arnos Grove Underground Station
(London, 1968)____________________56 25 25
(London, 1932)____________________12
(St Leonards-on-Sea, 1938)____________100 47 47
1 Kemble Street – Space House
Tyne, 1982)______________________146
De La Warr Pavilion
70 70
Bernat Klein Studio (Galashiels, 1972)_____148
(Bexhill-on-Sea, 1935)_______________102
71 71
Scottish Parliament (Edinburgh, 2004)____150
72 72
Italian Chapel (Lamb Holm,
(London, 1968)____________________58
48 48
Embassy Court (Brighton, 1935)________104
26 26
NLA Tower (Croydon, 1970)___________60
49 49
Tricorn Centre (Portsmouth, 1966)______106
3 3
Broadcasting House (London, 1932)______14
4 4
Daily Express Building (London, 1932)____16
27 27
National Theatre (London, 1976)________62
50 50
Creek Vean House (Feock, 1966)________108
5 5
The Isokon Building (London, 1934)______18
28 28
Alexandra & Ainsworth Estate
51 51
Castle Drogo (Drewsteignton, 1930)_____110
6 6
Penguin Pool – London Zoo
(London, 1978)____________________64
52 52
Upper Lawn Pavilion (Tisbury, 1962)_____112
74 74
St Peter’s Seminary (Cardross, 1966)_____156
53 53
David Murray John Tower
75 75
Ulster Museum (Belfast, 1972)__________158
(London, 1934)____________________20
29 29
Branch Hill Estate (London, 1970)_______66 Barbican Complex (London, 1982)_______68
Orkney, 1945)_____________________152 73 73
St Bride’s Roman Catholic Church (East Kilbride, 1964)________________154
7 7
RIBA Headquarters (London, 1934)______22
30 30
(Swindon, 1976)___________________114
76
8 8
Highpoint I & II (London, 1935 & 1938)____24
31 31
Lloyd’s Building (London, 1986)_________70
54 54
Monk’s Rest (Pinner, 1926)____________116
77
9 9
Simpson’s (London, 1936)_____________26
32 32
Pumping Station Isle of Dogs
55 55
The Sugden House (Watford, 1956)______118
78
Appendix________________________160
10 10
Peter Jones (London, 1937)___________28
(London, 1988)____________________72
56 56
Turn End (Haddenham, 1967)__________120
79
Index___________________________194
80
Photocredits______________________196
11 11
Finsbury Health Centre (London, 1938)___30
33 33
Lisson Gallery (London, 1992)__________74
57 57
St Catherine’s college (Oxford, 1964)_____122
12 12
1,2, 3 Willow Road (London, 1939) ______32
34 34
No. 1 Poultry (London, 1197)___________76
58 58
Florey Building (Oxford, 1971)__________124
13 13
Royal Festival Hall (London, 1951)_______34
35 35
Lord’s Media Centre (London, 1999)_____78
59 59
AIROH houses (Cardiff, 1946-1951)______126
14 14
Keeling House (London, 1959)_________36
36 36
Peckham Library (London, 2000)_______80
60 60
Coventry Cathedral (Coventry, 1962)_____128
15 15
Commonwealth Institute (London, 1962)___38
37 37
Tate Modern (London, 2000 & 2016)_____82
61 61
New Art Gallery Wallsall (Walsall, 2000)___130
16 16
Royal College of Art (London, 1963)_____40
38 38
Laban Dance Centre (London, 2003)_____84
62 62
Engineering Building (Leicester, 1963)____132
17 17
Royal College of Physicians
39 39
London Aquatics Centre (London, 2011)___86
63 63
Boots D10 Pharmaceutical Building
(London, 1964)____________________42
40 40
The Shard (London, 2012)____________88
18 18
Post Office Tower (London, 1964)_______44
41 41
Kettle’s Yard (Cambridge, 1970 & 2018)___90
19 19
Economist Plaza (London, 1964)________46
42 42
Sainsbury Centre for Visual Arts
20 20
Elephant & Rhinoceros Pavilion
21 21
6
(Beeston, 1932)____________________134 64 64
Liverpool Metropolitan Cathedral (Liverpool, 1967)___________________136
(Norwich, 1978)____________________92
65 65
Preston Bus Station (Preston, 1969)______138
(London, 1965)____________________48
43 43
Willis Building (Ipswich, 1975)__________94
66 66
The Lawns (Cottingham, 1967)_________140
Snowdon Aviary (London, 1965)________50
44 44
A House for Essex (Wrabness, 2015)_____96
67 67
Apollo Pavilion (Peterlee, 1969)_________142
7
LONDON
UNITED KINGDOM 72
2
8 29 12
74
5 28
21 6 20 11 17 18 30 33 7 22 25 4 34 31 3 9 27 37 19 40 16 13 24 10 35
15
73
39
71 70
14 69 23
68
75
67
32 65 36
38
66
64 63 61
52 51
41
58 56 55 53 57 54 L
59
1
42
62 60
49
43 44
48 47 46
45
50 26
8
9
LONDON
UNITED KINGDOM 72
2
8 29 12
74
5 28
21 6 20 11 17 18 30 33 7 22 25 4 34 31 3 9 27 37 19 40 16 13 24 10 35
15
73
39
71 70
14 69 23
68
75
67
32 65 36
38
66
64 63 61
52 51
41
58 56 55 53 57 54 L
59
1
42
62 60
49
43 44
48 47 46
45
50 26
8
9
TATE MODERN 37
Bankside, London SE1 Completed in: 2000 & 2016 Architects: Herzog & de Meuron
Across the Thames from St Paul’s Cathedral, and carefully proportioned so as not to overwhelm it, Bankside Power Station supplied electricity to London from 1953 until its closure in 1981. Giles Gilbert Scott’s stern, brick-clad structure – boiler house, turbine hall, and central, 99-metre-high chimney tower – then sat empty for many years. It remained under regular threat of demolition until 1994, when Tate announced that it would become its new gallery of modern art. The Swiss practice of Herzog & de Meuron began a long process of repurposing and extension that only finished with the completion of Switch House in 2016, and has utterly transformed the surrounding riverside neighbourhood. The journey across the Millennium Footbridge between St Paul’s and Tate Modern is now one of London’s most hallowed tourist routes. Tate Modern first opened in 2000, revealing a building that had been drastically adapted, but neither civilised nor disguised — still clearly a rugged, formerly industrial place. The Boiler House became the main network of gallery spaces, housing permanent displays and temporary exhibitions over several storeys. Meanwhile, the great void of the Turbine Hall was an instant, awe-inspiring public success. The original machinery was removed, along with the entire floor at ground level, creating a gigantic space from basement to roof, the entire height of the original building. Every year, a different artist is invited to address it by creating a new installation, drawing huge numbers of curious visitors. Olafur Eliasson’s The Weather Project (2003) featured an immense, immersive recreation of the sun. In 2010, Ai Weiwei flooded the space with millions of hand-made, life-sized porcelain sunflower seeds. The new gallery’s popularity outstripped all expectations, and Herzog & de Meuron returned several years later to create Switch House (now the Blavatnik Building). Although clad in a complementary brick, its mysterious, irregularly faceted exterior is in complete contrast to the older building. It provides 11 floors of dramatic new space, and spectacular London views from the observation deck at the top, which has proved problematic for residents of the neighbouring glass-fronted towers. The basement galleries are formed from the power station’s massive concrete tanks, drained of their reserves of oil.
82
TATE MODERN 37
Bankside, London SE1 Completed in: 2000 & 2016 Architects: Herzog & de Meuron
Across the Thames from St Paul’s Cathedral, and carefully proportioned so as not to overwhelm it, Bankside Power Station supplied electricity to London from 1953 until its closure in 1981. Giles Gilbert Scott’s stern, brick-clad structure – boiler house, turbine hall, and central, 99-metre-high chimney tower – then sat empty for many years. It remained under regular threat of demolition until 1994, when Tate announced that it would become its new gallery of modern art. The Swiss practice of Herzog & de Meuron began a long process of repurposing and extension that only finished with the completion of Switch House in 2016, and has utterly transformed the surrounding riverside neighbourhood. The journey across the Millennium Footbridge between St Paul’s and Tate Modern is now one of London’s most hallowed tourist routes. Tate Modern first opened in 2000, revealing a building that had been drastically adapted, but neither civilised nor disguised — still clearly a rugged, formerly industrial place. The Boiler House became the main network of gallery spaces, housing permanent displays and temporary exhibitions over several storeys. Meanwhile, the great void of the Turbine Hall was an instant, awe-inspiring public success. The original machinery was removed, along with the entire floor at ground level, creating a gigantic space from basement to roof, the entire height of the original building. Every year, a different artist is invited to address it by creating a new installation, drawing huge numbers of curious visitors. Olafur Eliasson’s The Weather Project (2003) featured an immense, immersive recreation of the sun. In 2010, Ai Weiwei flooded the space with millions of hand-made, life-sized porcelain sunflower seeds. The new gallery’s popularity outstripped all expectations, and Herzog & de Meuron returned several years later to create Switch House (now the Blavatnik Building). Although clad in a complementary brick, its mysterious, irregularly faceted exterior is in complete contrast to the older building. It provides 11 floors of dramatic new space, and spectacular London views from the observation deck at the top, which has proved problematic for residents of the neighbouring glass-fronted towers. The basement galleries are formed from the power station’s massive concrete tanks, drained of their reserves of oil.
82
LABAN DANCE CENTRE 38
Creekside, Deptford, London SE8 Completed in: 2003 Architects: Herzog & de Meuron
Laban Dance Centre’s history extends back to the 1950s, when Rudolf Laban founded his first school of movement and dance in Manchester. The Centre has been in London since 1975, growing into an internationally recognised school for contemporary dance. It merged with Trinity College of Music in 2005 to become Trinity Laban Conservatoire of Music and Dance, with bases in nearby Greenwich and New Cross as well as Deptford. Laban addressed its need to expand and update in 1997 with an architectural competition to build a new home, close to the Centre’s previous neighbourhood and embedded in the local community. Herzog & de Meuron’s winning design is a thoughtfully interlinked complex of theatre, studios, café, library and stepped, hilly, landscaped lawns, employing colour as a unifying theme. The architects collaborated with the artist Michael Craig-Martin, who developed the wall drawings and vivid colour schemes of the labyrinthine corridors, and the ethereal effects of the building’s curved façade. An external layer of tinted polycarbonate panels sits in front of the Centre’s glass walls, allowing the silhouettes of dancers and gently varying coloured light through to the outside. The strategy of gently separating areas with transparent or translucent walls continues inside the two-storey building. The floors are linked by spiral staircases, with the upper level devoted to a series of studios gently flooded with diffused light. The contrastingly dark, wood-panelled Bonnie Bird theatre, designed as the heart of the complex, accommodates up to 300 people in a venue for visiting dance performers and undergraduate shows.
84
LABAN DANCE CENTRE 38
Creekside, Deptford, London SE8 Completed in: 2003 Architects: Herzog & de Meuron
Laban Dance Centre’s history extends back to the 1950s, when Rudolf Laban founded his first school of movement and dance in Manchester. The Centre has been in London since 1975, growing into an internationally recognised school for contemporary dance. It merged with Trinity College of Music in 2005 to become Trinity Laban Conservatoire of Music and Dance, with bases in nearby Greenwich and New Cross as well as Deptford. Laban addressed its need to expand and update in 1997 with an architectural competition to build a new home, close to the Centre’s previous neighbourhood and embedded in the local community. Herzog & de Meuron’s winning design is a thoughtfully interlinked complex of theatre, studios, café, library and stepped, hilly, landscaped lawns, employing colour as a unifying theme. The architects collaborated with the artist Michael Craig-Martin, who developed the wall drawings and vivid colour schemes of the labyrinthine corridors, and the ethereal effects of the building’s curved façade. An external layer of tinted polycarbonate panels sits in front of the Centre’s glass walls, allowing the silhouettes of dancers and gently varying coloured light through to the outside. The strategy of gently separating areas with transparent or translucent walls continues inside the two-storey building. The floors are linked by spiral staircases, with the upper level devoted to a series of studios gently flooded with diffused light. The contrastingly dark, wood-panelled Bonnie Bird theatre, designed as the heart of the complex, accommodates up to 300 people in a venue for visiting dance performers and undergraduate shows.
84
LONDON AQUATICS CENTRE 39
Queen Elizabeth Olympic Park, London E20 Completed in: 2011 Architect: Zaha Hadid (1950-2016)
The focus of the 2012 Olympic Games was the Queen Elizabeth Olympic Park in Stratford, East London. Starting in 2009, a huge clearance and building programme took place to construct the necessary venues, and to drive local regeneration during and long after the Games. In the jargon of the time, ‘Olympic mode’ was succeeded by ‘Legacy mode’. The Aquatics Centre, at the south-east corner of the Park, was among the first projects to be started and the last to be finished. Its defining feature is the graceful, wavy roof of aluminium that rises from ground level over the three pools inside, echoing the flow patterns of water. Inside, the corresponding effect of the timber-clad ceiling is just as impressive, along with the elegant, smooth concrete forms of the walls and diving platforms. Jacques Rogge, president of the International Olympic Committee, pronounced the Aquatics Centre a masterpiece on its completion; alongside the velodrome (now Lee Valley VeloPark) by Hopkins Architects, it is perhaps the best known and most widely admired architectural outcome of London 2012. It’s also the late Zaha Hadid’s key achievement in Britain; one of only a handful of projects that she completed in this country. Other public buildings include the Glasgow Museum of Transport (2011) and her extension to the Serpentine Sackler Gallery in Kensington Gardens (2013). Once the Olympics were over – in Legacy mode – the sculptural beauty of the Centre came fully into its own: the temporary seating wings were removed from both sides, and the spaces were filled with glass, allowing natural light to pour in. It opened to the community as a public swimming complex in 2014.
86
LONDON AQUATICS CENTRE 39
Queen Elizabeth Olympic Park, London E20 Completed in: 2011 Architect: Zaha Hadid (1950-2016)
The focus of the 2012 Olympic Games was the Queen Elizabeth Olympic Park in Stratford, East London. Starting in 2009, a huge clearance and building programme took place to construct the necessary venues, and to drive local regeneration during and long after the Games. In the jargon of the time, ‘Olympic mode’ was succeeded by ‘Legacy mode’. The Aquatics Centre, at the south-east corner of the Park, was among the first projects to be started and the last to be finished. Its defining feature is the graceful, wavy roof of aluminium that rises from ground level over the three pools inside, echoing the flow patterns of water. Inside, the corresponding effect of the timber-clad ceiling is just as impressive, along with the elegant, smooth concrete forms of the walls and diving platforms. Jacques Rogge, president of the International Olympic Committee, pronounced the Aquatics Centre a masterpiece on its completion; alongside the velodrome (now Lee Valley VeloPark) by Hopkins Architects, it is perhaps the best known and most widely admired architectural outcome of London 2012. It’s also the late Zaha Hadid’s key achievement in Britain; one of only a handful of projects that she completed in this country. Other public buildings include the Glasgow Museum of Transport (2011) and her extension to the Serpentine Sackler Gallery in Kensington Gardens (2013). Once the Olympics were over – in Legacy mode – the sculptural beauty of the Centre came fully into its own: the temporary seating wings were removed from both sides, and the spaces were filled with glass, allowing natural light to pour in. It opened to the community as a public swimming complex in 2014.
86
THE SHARD 40
London Bridge Street, London SE1 Completed in: 2012 Architect: Renzo Piano Building Workshop
Britain’s tallest building (at the time of writing), the Shard has 72 floors and rises to 240 metres. It’s one of a group of hyper-distinctive skyscrapers with disarmingly informal names that has come to define the skyline of 21st-century central London. As the structure rises and eventually tapers into nothing, like the church spires that partly inspired Renzo Piano in imagining its form, the use of the spaces varies accordingly: the lower floors are offices; on top of them are restaurants, a hotel and apartments; finally, there are public observation decks on floors 69 and 72. Piano became internationally known with Richard Rogers after the spectacular success of the Pompidou Centre, completed in Paris in 1977, when both architects were still in their thirties. The Shard remains his chief work in Britain. There is also Central St Giles (2010) a development of two tall buildings covered in brightly coloured terracotta tiles, near Centre Point in the West End. The Shard’s developer, Irvine Sellar (1934-2017), was a seasoned entrepreneur. In the 1960s he made a fortune in Swinging London with Mates, his revolutionary chain of unisex fashion boutiques. His tenacity and resources were severely tested in the years after he approached Renzo Piano in 2000, on the 12-year route to completing the project. Opposition from heritage groups and campaigners concerned about the impact on the historic London skyline led to a major planning inquiry; an international financial crisis followed soon after. Ultimately the project was fully realised, including the construction of a new passenger approach and concourse for neighbouring London Bridge station. The gigantic glazed facades of the building conceal clever technology to regulate heat and light within, including a complex system of automated blinds. From outside, as most Londoners experience the building, the expanses of glass reflect the changing weather and the presence or otherwise of the sun, varying the building’s prominence against the backdrop of the city and the sky.
88
THE SHARD 40
London Bridge Street, London SE1 Completed in: 2012 Architect: Renzo Piano Building Workshop
Britain’s tallest building (at the time of writing), the Shard has 72 floors and rises to 240 metres. It’s one of a group of hyper-distinctive skyscrapers with disarmingly informal names that has come to define the skyline of 21st-century central London. As the structure rises and eventually tapers into nothing, like the church spires that partly inspired Renzo Piano in imagining its form, the use of the spaces varies accordingly: the lower floors are offices; on top of them are restaurants, a hotel and apartments; finally, there are public observation decks on floors 69 and 72. Piano became internationally known with Richard Rogers after the spectacular success of the Pompidou Centre, completed in Paris in 1977, when both architects were still in their thirties. The Shard remains his chief work in Britain. There is also Central St Giles (2010) a development of two tall buildings covered in brightly coloured terracotta tiles, near Centre Point in the West End. The Shard’s developer, Irvine Sellar (1934-2017), was a seasoned entrepreneur. In the 1960s he made a fortune in Swinging London with Mates, his revolutionary chain of unisex fashion boutiques. His tenacity and resources were severely tested in the years after he approached Renzo Piano in 2000, on the 12-year route to completing the project. Opposition from heritage groups and campaigners concerned about the impact on the historic London skyline led to a major planning inquiry; an international financial crisis followed soon after. Ultimately the project was fully realised, including the construction of a new passenger approach and concourse for neighbouring London Bridge station. The gigantic glazed facades of the building conceal clever technology to regulate heat and light within, including a complex system of automated blinds. From outside, as most Londoners experience the building, the expanses of glass reflect the changing weather and the presence or otherwise of the sun, varying the building’s prominence against the backdrop of the city and the sky.
88
JONATHAN SERGISON – Sergison Bates architects – sergisonbates.com Must-see project: Ruthin Craft Centre / Park Road, Ruthin, Denbighshire, Wales, 2009 Economist Plaza / St James’s Street, London SW1 — Alison & Peter Smithson, 1964 Kettle’s Yard extension / Castle Street, Cambridge — Leslie Martin & David Owers, 1970 The Sugden House / Devereux Drive, Watford, Hertfordshire — Alison & Peter Smithson, 1956 Red House / Tite Street, Chelsea, London SW3 — Tony Fretton Architects, 2001 The Lawns, Student Halls of Residence, University of Hull / Harland Way, Cottingham, East Yorkshire — Gillespie, Kidd & Coia, 1967
ANNE WARD – writer – ilike.org.uk Way Out West: A Guide to the Hidden Joys of the West Country (2017) Nothing To See Here: A Guide to the Hidden Joys of Scotland (2010) A House for Essex / Black Boy Lane, Wrabness, Essex — FAT Architecture & Grayson Perry, 2015 Barbican Estate / London EC2 — Chamberlin, Powell and Bon, 1982 Royal Festival Hall, Southbank Centre / Belvedere Road, Lambeth, London SE1 — Robert Matthew & Leslie Martin, 1951 Liverpool Metropolitan Cathedral (Metropolitan Cathedral of Christ the King) / Mount Pleasant, Liverpool — Frederick Gibberd, 1967 St Bride’s Roman Catholic Church / Whitemoss Ave, East Kilbride, Glasgow — Gillespie, Kidd & Coia, 1964 Minack Theatre / Porthcurno, Penzance, Cornwall — Rowena Cade, 1932 Preston Bus Station / Tithebarn Street, Preston, Lancashire — Keith Ingham & Charles Wilson (BDP), 1969 Newcastle Civic Centre / Barras Bridge, Newcastle upon Tyne — George Kenyon, 1967 Italian Chapel (Orkney POW Chapel) / Lamb Holm, Orkney — Prisoners of War, 1945 Midland Hotel / Marine Road West, Morecambe, Lancashire — Oliver Hill, 1933
190
191
THE SHARD 40
London Bridge Street, London SE1 Completed in: 2012 Architect: Renzo Piano Building Workshop
Britain’s tallest building (at the time of writing), the Shard has 72 floors and rises to 240 metres. It’s one of a group of hyper-distinctive skyscrapers with disarmingly informal names that has come to define the skyline of 21st-century central London. As the structure rises and eventually tapers into nothing, like the church spires that partly inspired Renzo Piano in imagining its form, the use of the spaces varies accordingly: the lower floors are offices; on top of them are restaurants, a hotel and apartments; finally, there are public observation decks on floors 69 and 72. Piano became internationally known with Richard Rogers after the spectacular success of the Pompidou Centre, completed in Paris in 1977, when both architects were still in their thirties. The Shard remains his chief work in Britain. There is also Central St Giles (2010) a development of two tall buildings covered in brightly coloured terracotta tiles, near Centre Point in the West End. The Shard’s developer, Irvine Sellar (1934-2017), was a seasoned entrepreneur. In the 1960s he made a fortune in Swinging London with Mates, his revolutionary chain of unisex fashion boutiques. His tenacity and resources were severely tested in the years after he approached Renzo Piano in 2000, on the 12-year route to completing the project. Opposition from heritage groups and campaigners concerned about the impact on the historic London skyline led to a major planning inquiry; an international financial crisis followed soon after. Ultimately the project was fully realised, including the construction of a new passenger approach and concourse for neighbouring London Bridge station. The gigantic glazed facades of the building conceal clever technology to regulate heat and light within, including a complex system of automated blinds. From outside, as most Londoners experience the building, the expanses of glass reflect the changing weather and the presence or otherwise of the sun, varying the building’s prominence against the backdrop of the city and the sky.
88
PETER YORK – author, broadcaster, cultural commentator Dictators’ Homes (2005) Modern Times (1984)
192
PAUL ZARA – Conran and Partners – conranandpartners.com Must-see project: Refurbishment of Embassy Court / Kings Road, Hove, East Sussex (Wells Coates, 1935), Conran + Partners, 2006
Broadcasting House / Portland Place, London W1 — George Val Myer & F. J. Watson Hart, 1932
De La Warr Pavilion / Marina, Bexhill-on-Sea, East Sussex — Erich Mendelsohn & Serge Chermayeff, 1936
Arnos Grove Underground Station / Bowes Road, Arnos Grove, London N11 — Charles Holden, 1932
High & Over / Highover Park, Amersham, Buckinghamshire — Amyas Connell, 1931
203-206 Piccadilly (Simpson’s, now Waterstones) / London W1 — Joseph Emberton, 1936
Highpoint I / North Hill, Highgate, London N6 — Berthold Lubetkin (Tecton), 1935
New House / Arkwright Road, Hampstead, London NW3 — Samuel & Harding, 1939
Highpoint II / North Hill, Highgate, London N6 — Berthold Lubetkin (Tecton), 1938
76-78 Cambridge Street / Pimlico, London SW1 — Peter Foggo & David Thomas, 1969
Isokon building (Lawn Road flats) / Lawn Road, Hampstead, London NW3 — Wells Coates, 1934
Marine Court / Marina, St Leonards-on-Sea, East Sussex — Kenneth Dalgleish & Roger K. Pullen, 1938
Embassy Court / Kings Road, Hove, East Sussex — Wells Coates, 1935
Lillington Gardens Estate / Vauxhall Bridge Road, Pimlico, London SW1 — Darbourne & Darke, 1972
Royal Festival Hall, Southbank Centre / Belvedere Road, Lambeth, London SE1 — Robert Matthew & Leslie Martin, 1951
Highpoint / North Hill, Highgate, London N6 — Berthold Lubetkin (Tecton), 1935 & 1938
Lloyd’s Building / Lime Street, London EC3 — Richard Rogers Partnership, 1986
Gaumont State Cinema / Kilburn High Road, London NW6 — George Coles, 1937
Trellick Tower / Cheltenham Estate, Golborne Road, London W10 — Ernő Goldfinger, 1972
Commonwealth Institute (original exterior) / Kensington High Street, London W8 — Robert Matthew, Johnson-Marshall and Partners, 1962
Economist Plaza / St James’s Street, London SW1 — Alison & Peter Smithson, 1964
193
PETER YORK – author, broadcaster, cultural commentator Dictators’ Homes (2005) Modern Times (1984)
192
PAUL ZARA – Conran and Partners – conranandpartners.com Must-see project: Refurbishment of Embassy Court / Kings Road, Hove, East Sussex (Wells Coates, 1935), Conran + Partners, 2006
Broadcasting House / Portland Place, London W1 — George Val Myer & F. J. Watson Hart, 1932
De La Warr Pavilion / Marina, Bexhill-on-Sea, East Sussex — Erich Mendelsohn & Serge Chermayeff, 1936
Arnos Grove Underground Station / Bowes Road, Arnos Grove, London N11 — Charles Holden, 1932
High & Over / Highover Park, Amersham, Buckinghamshire — Amyas Connell, 1931
203-206 Piccadilly (Simpson’s, now Waterstones) / London W1 — Joseph Emberton, 1936
Highpoint I / North Hill, Highgate, London N6 — Berthold Lubetkin (Tecton), 1935
New House / Arkwright Road, Hampstead, London NW3 — Samuel & Harding, 1939
Highpoint II / North Hill, Highgate, London N6 — Berthold Lubetkin (Tecton), 1938
76-78 Cambridge Street / Pimlico, London SW1 — Peter Foggo & David Thomas, 1969
Isokon building (Lawn Road flats) / Lawn Road, Hampstead, London NW3 — Wells Coates, 1934
Marine Court / Marina, St Leonards-on-Sea, East Sussex — Kenneth Dalgleish & Roger K. Pullen, 1938
Embassy Court / Kings Road, Hove, East Sussex — Wells Coates, 1935
Lillington Gardens Estate / Vauxhall Bridge Road, Pimlico, London SW1 — Darbourne & Darke, 1972
Royal Festival Hall, Southbank Centre / Belvedere Road, Lambeth, London SE1 — Robert Matthew & Leslie Martin, 1951
Highpoint / North Hill, Highgate, London N6 — Berthold Lubetkin (Tecton), 1935 & 1938
Lloyd’s Building / Lime Street, London EC3 — Richard Rogers Partnership, 1986
Gaumont State Cinema / Kilburn High Road, London NW6 — George Coles, 1937
Trellick Tower / Cheltenham Estate, Golborne Road, London W10 — Ernő Goldfinger, 1972
Commonwealth Institute (original exterior) / Kensington High Street, London W8 — Robert Matthew, Johnson-Marshall and Partners, 1962
Economist Plaza / St James’s Street, London SW1 — Alison & Peter Smithson, 1964
193
INDEX
NAME OF THE ARCHITECT, ARTIST OR ARCHITECTURAL FIRM
Alberts, Ton_______________________ p. p. 30 Aldington, Peter_____________________ p. 120 Alsop, Will__________________________ p. 80 Archigram_____________________p. 56, 70, 114 Architects Co-Partnership______________ p. 144 Arkitektkontor______________________ p. 146 Arup, Ove____________________ p. 20, 118, 144 Atkinson, Robert & Partners____________ p. 16, 62 Avanti Architects_____________________ p. 18 Bainbridge Copnall, Edward______________ p. 22 Bedford, Eric________________________ p. 44 Benson, Gordon______________________ p. 60 Blanc, Louis David_____________________ p. 28 Breuer, Marcel_______________________ p. 18 Brown, Neave_____________________ p. 60, 66 Brumwell, Su_______________________ p. 108 Building Design Partnership (BDP)_________p. 138 Burns Architects______________________p. 142 Cadbury-Brown, H.T.___________________ p. 40 Capon, Kenneth_____________________ p. 144 Caruso St John Architects______________ p. 130 Casson Conder & Partners_______________ p. 48 Casson, Hugh___________________p. 40, 48, 50 Chalk, Warren________________________ p. 56 Chamberlin, Powell and Bon______________ p. 68 Cheeseman, Wendy___________________ p. 108 Chermayeff, Serge_________________ p. 14, 102 Chiocchetti, Domenico_________________p. 152 Coates, Wells___________________p. 14, 18, 104 Conran and Partners__________________ p. 104 Cox, Anthony_______________________ p. 144 Crabtree, William_____________________ p. 28 Craig-Martin, Michael__________________ p. 84 Crompton, Dennis_____________________ p. 56 Crowe, Sylvia________________________ p. 38 Cullen, Gordon_______________________ p. 30 Cumming Wynnes, James______________ p. 158 Dalgleish, Kenneth___________________ p. 100
194
Day, Robin & Lucienne________________p. 34, 68 Dillistone, George_____________________p. 110 dRMM Architects_____________________ p. 98 Ellis and Clarke_______________________ p. 16 Emberton, Joseph_____________________ p. 26 EMBT Architects_____________________ p. 150 Epstein, Jacob_________________ p. 12, 128, 130 Erskine, Ralph_______________________ p. 146 Evans and Shalev_____________________ p. 72 FAT Architecture_____________________ p. 96 Feilden Clegg Bradley Studios____________ p. 56 Fobert, Jamie________________________ p. 90 Forsyth, Alan________________________ p. 60 Foster, Norman_______________p. 50, 92, 94, 108 Fretton, Tony________________________ p. 74 Frink, Elisabeth___________________ p. 128, 136 Future Systems_______________________ p. 78 Gelitin_____________________________ p. 56 Gerstle, Miriam_______________________ p. 22 Gibberd, Frederick____________________p. 136 Gillespie, Kidd & Coia____________ p. 140, 154, 15 Goldfinger, Ernő_________________ p. 32, 52, 54 Goodden, Robert_____________________ p. 40 Gordon, Rodney_____________________ p. 106 Gough, Piers_____________________ p. 72, 114 Gowan, James_______________________p. 132 Grenfell Baines, George_________________p. 138 Grieve, Tom_________________________ p. 98 Grimshaw Architects___________________ p. 72 Hadid, Zaha_________________________ p. 86 HAT projects________________________ p. 98 Havinden, Ashley_____________________ p. 26 Hepworth, Barbara_________________ p. 90, 122 Herron, Ron_________________________ p. 56 Herzog & de Meuron_________________p. 82, 84 Holden, Charles______________________ p. 12 Holland, Charles______________________ p. 96 Hopkins Architects__________________p. 86, 96
Hutton, John________________________p. 128 Ingham, Keith________________________p. 138 Jacobsen, Arne_______________________p. 122 Kaplicky, Jan________________________ p. 78 Komisarjevsky, Theodore________________ p. 10 Kroll, Natasha________________________ p. 26 Lasdun, Denys_______________ p. 36, 42, 64, 92 Levete, Amanda______________________ p. 78 Loftus, Hana_________________________ p. 98 Lubetkin, Berthold_____________ p. 20, 24, 30, 50 Luder, Owen_____________________ p. 22, 106 Lutyens, Edwin_________________ p. 76, 110, 136 Macmillan, Andy_______________ p. 140, 154, 156 Marsh, George_____________________p. 52, 58 Martin, Leslie_______________ p. 34, 90, 140, 158 Masey, Cecil_________________________ p. 10 Matthew, Robert____________________p. 34, 38 McAslan, John (& Partners)___________ p. 28, 102 McKnight Kauffer, Edward______________ p. 104 Mendelsohn, Erich__________________ p. 28, 102 Metzstein, Isi_________________ p. 140, 154, 156 MICA Architects______________________ p. 62 Miralles, Enric_______________________ p. 150 Mitchell, William___________________ p. 62, 136 Moberly, A.H________________________ p. 28 Moholy-Nagy, Laslo_________________ p. 18, 26 Moro, Peter_________________________ p. 34 Newby, Frank_____________________ p. 50, 132 Nixon, David________________________ p. 78 Outram, John________________________ p. 72 Owers, David________________________ p. 90 Pasmore, Victor______________________p. 142 Pawson, John______________________p. 38, 96 Perry, Grayson_______________________ p. 96 Piano, Renzo________________________ p. 88 Piper, John______________________ p. 128, 136 Powell & Moya_______________________ p. 34 Powers, Michael_____________________ p. 144
Price, Cedric_________________________ p. 50 Pullen, Roger K._____________________ p. 100 Puttick, John (Associates)_______________p. 138 Pym, Francis________________________ p. 158 Raines, Richard______________________ p. 144 Reilly, C.H.__________________________ p. 28 Reyntiens, Patrick_________________ p. 128, 136 RMJM (Robert Matthew Johnson-Marshall)___ p. 38 Robertson, John (Architects)_____________ p. 16 Rogers, Richard______________p. 70, 72, 88, 108 Samuely, Felix_______________________ p. 20 Seifert, Richard__________________ p. 52, 58,62 Sergison Bates architects____________ p. 112, 130 Shadbolt, Blunden_____________________p. 116 Slater, J.A.__________________________ p. 28 Smithson, Alison & Peter____ p. 22, 46, 112, 118, 120 Snowdon, Lord_______________________ p. 50 Spence, Basil____________________ p. 128, 136 Stephen, Douglas_____________________p. 114 Stirling, James______________ p. 72, 76, 124, 132 Sutherland, Graham___________________p. 128 Team 4___________________________ p. 108 Tecton_____________________ p. 20, 24, 30, 48 Tompkins, Haworth____________________ p. 64 Tribich, Liefer & Starkin_________________ p. 62 Trobridge, Ernest_____________________p. 116 Tubb, Ralph_________________________ p. 34 Tudsbery, Marmaduke__________________ p. 14 Val Myer, Georges____________________ p. 14 Watson Hart, F.J._____________________ p. 14 Williams, Owen__________________p. 16, 94, 134 Wilson, Charles_______________________p. 138 Wolton, Georgie_____________________ p. 108 Womersley, Peter_________________ p. 140, 148 Woodford, James_____________________ p. 22 Wornum, George Grey_________________ p. 22 Zara, Paul_________________________ p. 104 Zumthor, Peter_______________________ p. 96
195
INDEX
NAME OF THE ARCHITECT, ARTIST OR ARCHITECTURAL FIRM
Alberts, Ton_______________________ p. p. 30 Aldington, Peter_____________________ p. 120 Alsop, Will__________________________ p. 80 Archigram_____________________p. 56, 70, 114 Architects Co-Partnership______________ p. 144 Arkitektkontor______________________ p. 146 Arup, Ove____________________ p. 20, 118, 144 Atkinson, Robert & Partners____________ p. 16, 62 Avanti Architects_____________________ p. 18 Bainbridge Copnall, Edward______________ p. 22 Bedford, Eric________________________ p. 44 Benson, Gordon______________________ p. 60 Blanc, Louis David_____________________ p. 28 Breuer, Marcel_______________________ p. 18 Brown, Neave_____________________ p. 60, 66 Brumwell, Su_______________________ p. 108 Building Design Partnership (BDP)_________p. 138 Burns Architects______________________p. 142 Cadbury-Brown, H.T.___________________ p. 40 Capon, Kenneth_____________________ p. 144 Caruso St John Architects______________ p. 130 Casson Conder & Partners_______________ p. 48 Casson, Hugh___________________p. 40, 48, 50 Chalk, Warren________________________ p. 56 Chamberlin, Powell and Bon______________ p. 68 Cheeseman, Wendy___________________ p. 108 Chermayeff, Serge_________________ p. 14, 102 Chiocchetti, Domenico_________________p. 152 Coates, Wells___________________p. 14, 18, 104 Conran and Partners__________________ p. 104 Cox, Anthony_______________________ p. 144 Crabtree, William_____________________ p. 28 Craig-Martin, Michael__________________ p. 84 Crompton, Dennis_____________________ p. 56 Crowe, Sylvia________________________ p. 38 Cullen, Gordon_______________________ p. 30 Cumming Wynnes, James______________ p. 158 Dalgleish, Kenneth___________________ p. 100
194
Day, Robin & Lucienne________________p. 34, 68 Dillistone, George_____________________p. 110 dRMM Architects_____________________ p. 98 Ellis and Clarke_______________________ p. 16 Emberton, Joseph_____________________ p. 26 EMBT Architects_____________________ p. 150 Epstein, Jacob_________________ p. 12, 128, 130 Erskine, Ralph_______________________ p. 146 Evans and Shalev_____________________ p. 72 FAT Architecture_____________________ p. 96 Feilden Clegg Bradley Studios____________ p. 56 Fobert, Jamie________________________ p. 90 Forsyth, Alan________________________ p. 60 Foster, Norman_______________p. 50, 92, 94, 108 Fretton, Tony________________________ p. 74 Frink, Elisabeth___________________ p. 128, 136 Future Systems_______________________ p. 78 Gelitin_____________________________ p. 56 Gerstle, Miriam_______________________ p. 22 Gibberd, Frederick____________________p. 136 Gillespie, Kidd & Coia____________ p. 140, 154, 15 Goldfinger, Ernő_________________ p. 32, 52, 54 Goodden, Robert_____________________ p. 40 Gordon, Rodney_____________________ p. 106 Gough, Piers_____________________ p. 72, 114 Gowan, James_______________________p. 132 Grenfell Baines, George_________________p. 138 Grieve, Tom_________________________ p. 98 Grimshaw Architects___________________ p. 72 Hadid, Zaha_________________________ p. 86 HAT projects________________________ p. 98 Havinden, Ashley_____________________ p. 26 Hepworth, Barbara_________________ p. 90, 122 Herron, Ron_________________________ p. 56 Herzog & de Meuron_________________p. 82, 84 Holden, Charles______________________ p. 12 Holland, Charles______________________ p. 96 Hopkins Architects__________________p. 86, 96
Hutton, John________________________p. 128 Ingham, Keith________________________p. 138 Jacobsen, Arne_______________________p. 122 Kaplicky, Jan________________________ p. 78 Komisarjevsky, Theodore________________ p. 10 Kroll, Natasha________________________ p. 26 Lasdun, Denys_______________ p. 36, 42, 64, 92 Levete, Amanda______________________ p. 78 Loftus, Hana_________________________ p. 98 Lubetkin, Berthold_____________ p. 20, 24, 30, 50 Luder, Owen_____________________ p. 22, 106 Lutyens, Edwin_________________ p. 76, 110, 136 Macmillan, Andy_______________ p. 140, 154, 156 Marsh, George_____________________p. 52, 58 Martin, Leslie_______________ p. 34, 90, 140, 158 Masey, Cecil_________________________ p. 10 Matthew, Robert____________________p. 34, 38 McAslan, John (& Partners)___________ p. 28, 102 McKnight Kauffer, Edward______________ p. 104 Mendelsohn, Erich__________________ p. 28, 102 Metzstein, Isi_________________ p. 140, 154, 156 MICA Architects______________________ p. 62 Miralles, Enric_______________________ p. 150 Mitchell, William___________________ p. 62, 136 Moberly, A.H________________________ p. 28 Moholy-Nagy, Laslo_________________ p. 18, 26 Moro, Peter_________________________ p. 34 Newby, Frank_____________________ p. 50, 132 Nixon, David________________________ p. 78 Outram, John________________________ p. 72 Owers, David________________________ p. 90 Pasmore, Victor______________________p. 142 Pawson, John______________________p. 38, 96 Perry, Grayson_______________________ p. 96 Piano, Renzo________________________ p. 88 Piper, John______________________ p. 128, 136 Powell & Moya_______________________ p. 34 Powers, Michael_____________________ p. 144
Price, Cedric_________________________ p. 50 Pullen, Roger K._____________________ p. 100 Puttick, John (Associates)_______________p. 138 Pym, Francis________________________ p. 158 Raines, Richard______________________ p. 144 Reilly, C.H.__________________________ p. 28 Reyntiens, Patrick_________________ p. 128, 136 RMJM (Robert Matthew Johnson-Marshall)___ p. 38 Robertson, John (Architects)_____________ p. 16 Rogers, Richard______________p. 70, 72, 88, 108 Samuely, Felix_______________________ p. 20 Seifert, Richard__________________ p. 52, 58,62 Sergison Bates architects____________ p. 112, 130 Shadbolt, Blunden_____________________p. 116 Slater, J.A.__________________________ p. 28 Smithson, Alison & Peter____ p. 22, 46, 112, 118, 120 Snowdon, Lord_______________________ p. 50 Spence, Basil____________________ p. 128, 136 Stephen, Douglas_____________________p. 114 Stirling, James______________ p. 72, 76, 124, 132 Sutherland, Graham___________________p. 128 Team 4___________________________ p. 108 Tecton_____________________ p. 20, 24, 30, 48 Tompkins, Haworth____________________ p. 64 Tribich, Liefer & Starkin_________________ p. 62 Trobridge, Ernest_____________________p. 116 Tubb, Ralph_________________________ p. 34 Tudsbery, Marmaduke__________________ p. 14 Val Myer, Georges____________________ p. 14 Watson Hart, F.J._____________________ p. 14 Williams, Owen__________________p. 16, 94, 134 Wilson, Charles_______________________p. 138 Wolton, Georgie_____________________ p. 108 Womersley, Peter_________________ p. 140, 148 Woodford, James_____________________ p. 22 Wornum, George Grey_________________ p. 22 Zara, Paul_________________________ p. 104 Zumthor, Peter_______________________ p. 96
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CREDITS BEST BUILDINGS BRITAIN
Matthew Freedman
Graphic design: Joke Gossé Photo selection: Marieke Roggeveen Cover: National Theatre (Denys Lasdun) photo © Shutterstock D/2019/12.005/17 ISBN 978 94 6058 2554 NUR 648
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