London value creation

Building design

The name “Curtain Street” probably goes back to theaters in Tudor times, which were located north of London. This inspired the architects Duggan Morris to create their corrugated aluminum façade.

The name “Curtain Street” probably goes back to the theaters in Tudor times, which were located here in Shoreditch / Hackney, north of the City of London. It probably also refers to the local textile and furniture manufacturers and to William Shakespeare himself, who lived in the neighborhood around 1500. This story inspired the architects Duggan Morris to create their corrugated aluminum façade in Curtain Road: it is actually drawn like a delicate curtain in front of the windows – invisible from the outside, it conceals a series of one-meter-wide, alternating glass and wall elements. Only three large panes, offset from each other, remain free as peep-box windows.


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The recently completed office building is now waiting for tenants. Of course, they are not as easy to find as in a new building. The four relatively low storeys in the old walls have large ventilation units in every corner that can hardly be overlooked and look conventional with their perforated façades. The building was also considerably more expensive to construct because static angles were required to support the loads of the superimposed steel structure. The rooms are divided up in such a way that a gallery owner can take over the space on the ground floor and basement and a tenant can occupy the remaining floors above. This is why there are two separate entrances.


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On the other hand, the light and width of the three new upper floors are impressive: the building had to be staggered back several times towards the rear so as not to impair the exposure of the neighboring courtyards. The architects made a virtue of necessity with the help of an attractive terrace landscape, which would also make a wonderful place to live.

You can find more information on this topic and another extension in London in Baumeister 7/2014.

Photos: Jack Hobhouse

POTREBBE INTERESSARTI ANCHE

Old cemetery in a new guise

Building design

The Evangelical-Lutheran parish of the Middle Franconian market town of Altdorf was confronted, as elsewhere, with the increase in urn burials. Together with the landscape architects Martin Völker and Lars Möller and the Eichstätt sculptor Günter Lang, it therefore created three urn islands within the historic grounds, which are united by a common design language. Anyone entering the cemetery through the main entrance […]

The Evangelical-Lutheran parish of the Middle Franconian market town of Altdorf was confronted, as elsewhere, with the increase in urn burials. Together with the landscape architects Martin Völker and Lars Möller and the Eichstätt sculptor Günter Lang, it therefore created three urn islands within the historic grounds, which are united by a common design language.
Anyone entering the cemetery through the main entrance will not notice these places at first glance. Visitors will find a well-kept cemetery with plenty of greenery and numerous beautiful, historic stones. The steel steles that border the new urn islands blend so harmoniously into this greenery that they only catch the eye on closer inspection.

The surrounding steel band with 75-centimetre-high rectangular tubular steles at rhythmic intervals is coated in shades of grey and various shades of green. The entrance to each area is marked with a steel band engraved with a psalm. A font designed by sculptor Günter Lang was specially digitized for this purpose. Lang is the artistic director for the design of the urn steles within the islands. Each design goes through his hands before it is approved by the cemetery administration. All the steles have a uniform base area and height. What Lang is particularly keen on, however, is the use of local STEIN. Some sample steles, made by local stonemasons, are already in place. A granite from the Bavarian Forest has traveled the longest distance, while the other grave markers are made of Franconian sandstone or Jura limestone from the Altmühltal. Günter Lang also wants stones that have something to say. Psalms, sayings and quotations can be engraved around the stele, Lang advises. He does not want to be seen as a censor, but as a mentor who helps to improve existing designs. Around 40 urns are currently available, with a further 20 planned.

Each of the islands has a central seating area within the lawn. Rock pears provide shade and are particularly striking in spring with their white flowers. The islands are not static; if necessary, the steel strip elements can be taken apart and moved or replaced with new ones. This allows the areas to grow as more space becomes available. The modern design is not to everyone’s taste, but, according to Martin Völker, it has also received approval from many sides – from all age groups. Two of the urn spaces have already been taken, and one already has a stele with the owner’s name and date of birth engraved on it. Right next to a bench is a large stele by Günter Lang, a striking yet harmonious combination of steel and stone that serves as a lasting memorial.

The interview with Mr. Thust on the subject of cemetery development and other exciting pictures can be found in STEIN 12/2014!

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The mosaic cross of St. Martin’s Church

Building design

The mosaic cross by Claus Kilian (*1928) is attached to the exterior façade of the rectory of St. Martin’s Church in Hildesheim-Himmelsthür. The high-quality mosaic was made from smalt, gold, limestone and marble tessarae and depicts a typical scene from the life of St. Martin. The mosaic, which was only created in 1995, was in a very desolate condition. The […]

The mosaic cross by Claus Kilian (*1928) is attached to the exterior façade of the rectory of St. Martin’s Church in Hildesheim-Himmelsthür. The high-quality mosaic was made from smalt, gold, limestone and marble tessarae and depicts a typical scene from the life of St. Martin.

The mosaic, which was only created in 1995, was in a very desolate condition. The mosaic, which was glued to a plastic mesh, was peeling off in numerous places. It had already been glued again in various places. The adhesive used is probably not suitable for outdoor use. As the structure of the substrate and the adhesive used were the cause of the damage, the mosaic had to be removed from the wall, applied to a new substrate and reattached in its original position.

You can find out more about the removal, the new backing material and the fixing agent in RESTAURO 03.2014.

Photos (from top to bottom): Beate Skasa-Lindermeir, Rolf Gollnick