On the death of Queen Elizabeth II: Her role in architecture

Building design
The Queen at an opening ceremony. Source: Peter Ormond via Wikimedia

The Queen at an opening ceremony. Source: Peter Ormond via Wikimedia

The death of the British Queen on September 8, 2022 moves the world. The 96-year-old monarch had an eventful life full of duties. This often included the opening of new buildings – an overview of what the Queen means for the world of architecture can be found here.

The Queen and architecture

Britain’s Queen Elizabeth II began her reign at the age of 25. She was Queen for seven decades, from 1952 to 2022, adapting her role to the changing times time and again. The death of the 96-year-old on September 8, 2022 caused great sadness among people all over the world. Elizabeth II was a symbol of personal strength, a sense of duty and constancy. She was popular and well-known far beyond national borders.

During her record time on the throne, the Queen cut numerous red ribbons. She inaugurated important public and private buildings in the UK as well as in Australia, New Zealand and other Commonwealth countries. During this time, she saw architectural styles change dramatically.

A look at the buildings the Queen has opened epitomizes this: Modern, Brutalist, high-tech and contemporary architecture is all part of it. Names such as Basil Spence, Powell & Moya, Norman Foster and Herzog & de Meuron come to mind when looking at the houses, museums, airports, cathedrals, opera houses and Houses of Parliament honored by the Queen.

The second Elizabethan era

In Great Britain, it is still customary to name an era after the reigning monarch. In her long, fulfilling life, Elizabeth II shaped the country like no other person. It is therefore no wonder that the British are now looking back on the second Elizabethan era and paying their last respects to the Queen.

During her time on the throne, Elizabeth II opened over 100 buildings in London alone. These include the Victoria Line Underground, the Barbican Centre, Shakespeare’s Globe Theatre, the BBC Broadcasting House and the Great Court at the British Museum.

This is a selection of the buildings opened by the Queen:

1950s and 1960s

  • 1955: The Queen’s Building, Heathrow, England, by Frederick Gibberd: The airport’s central terminal from the late modernist period later became Terminal 2 and was demolished in 2009 to make way for the new building by Foster + Partners. Terminal 5, designed by Rogers Stirk Harbour + Partners and named after the Queen, was opened in 2008.
  • 1962: Coventry Cathedral, Coventry, England, by Basil Spence: The Queen was present at the official consecration of this modern cathedral, which replaces a 14th century church. The building is an example of late modernism.
  • 1963: New Zealand House, London, England, by RMJM: The 15-storey building was the third tallest building in London at the time of its opening by the Queen. It was the first office tower to be built in the city center after the Second World War.
  • 1968: Euston Station, London, England, by William Robert Headley and Ray Moorcroft: This modern station was controversial as old parts of the building had to be destroyed. There are currently discussions to redesign the station to provide more space for the HS2 high-speed train.

1970s

  • 1973: Sydney Opera House, Sydney, Australia, by Jørn Utzon: One million people attended the opening of the famous opera house by the Queen. With this iconic building, Danish architect Jørn Utzon and engineer Ove Arup created an important example of engineering-dominated late modernism.
  • 1976: Museum of London, London, England, by Powell & Moya: The Queen opened both the City Museum and the Barbican Estate that year, two famous Brutalist complexes with an innovative museum design.
  • 1976: Royal National Theatre, London, England, by Denys Lasdun: Prince Charles called the theater a “nuclear power station in the heart of the city”. Despite the complicated 25-year construction period, it is still an important theater today.
  • 1977: The Beehive, Wellington, New Zealand, by Basil Spence: This brutalist building is home to the executive branch of the New Zealand parliament. It is reminiscent of a beehive.

1980s

  • 1982: Barbican Centre, London, England, by Chamberlin, Powell and Bon: The Queen described this art center as “one of the wonders of the modern world”. It is part of the Barbican Estate and seats over 1,000 people.
  • 1986: Lloyd’s Building, London, England, by Richard Rogers: This building is an early example of high-tech architecture. The building services and elevators are located outside the building to create more space inside.
  • 1988: Parliament House, Canberra, Australia, by Mitchell Giurgola and Thorp Architects: To commemorate the 200th anniversary of the arrival of the first British convicts in the convict colony of Australia, the Queen opened the new Parliament House in the Australian capital.

1990s

  • 1991: Stansted Airport, Stansted, England, by Foster + Partners: This airport near London is an example of British high-tech architecture.
  • 1998: Museum of Scotland, Edinburgh, Scotland, by Benson + Forsyth: This building is an extension of the 19th century Royal Scottish Museum. It is a modern addition to the old town of Edinburgh.
  • 1998: British Library, London, England, by Colin St. John and MJ Long: Despite Prince Charles describing the library as an “academy for the secret police”, the Queen formally opened the building. It is the largest public building constructed in Britain in the 20th century.

2000s

  • 2000: Tate Modern, London, England, by Herzog & de Meuron: The famous art gallery used to be a power station. The Queen had inaugurated it 37 years earlier.
  • 2000: Great Court in the British Museum, London, England, by Foster + Partners: The inner courtyard covered with a cantilevered glass shell in what is probably the most famous museum in the British capital increases the exhibition space by 40 percent.
  • 2004: Scottish Parliament Building, Edinburgh, Scotland, by EMBT & RMJM: The complex parliament building references the Scottish heritage and landscape by evoking, among other things, boats and flower paintings.
  • 2006: Senedd Cymru, Cardiff, Wales, by RSHP: The building for the Welsh National Assembly consists of a large steel roof and timber as well as a glass façade. It is one of the first public buildings to incorporate sustainable elements such as a biomass boiler and rainwater harvesting system.

Since 2010

  • 2011: Somerset House East Wing, London, England, by BDP: This reopening of the historic wing of the building emphasizes the history of the imposing house from 1547.
  • 2012: Cutty Sark, Greenwich, London, England, by Grimshaw: The Cutty Sark was built in 1869 and was one of the fastest tea clippers in the British Empire. In 2012, the ship was restored and reopened as a museum by the Queen.
  • 2015: Ministry of Defense, London, England, by HOK: The first plans for the redesign of the Ministry of Defense date back to 1990. An entire consortium of partners worked for years on the final design, which the Queen inaugurated in 2015.
  • 2022: Elizabeth Line, London, England: The capital’s newest subway line was inaugurated just a few months ago. It is named after the Queen, and the monarch herself made a surprise appearance at the opening ceremony.

After Queen Elizabeth – a look into the future

Despite the prevailing mourning in Great Britain, eyes are now also turning to the future: the new king, King Charles III, faces many challenges. Architects and town planners are looking particularly closely at his plans, as the previous prince was known for always having an opinion on architectural experiments.

In May 1984, he made a famous speech about the proposed extension to the National Gallery in London, which he described as a “monstrous carbuncle on the face of a much-loved and elegant friend”. This drastic statement was successful and the extension based on Rogers’ design was never built. Instead, Robert Venturi and Denise Scott Brown built the so-called Sainsbury Wing. This extension is one of the most important works of postmodernism in Great Britain.

However, the Prince not only stirred up emotions, but also contributed to the construction of new buildings and communities. For example, he donated land in the Duchy of Cornwall to build the village of Poundbury. This planned community of 3,500 residents, due to be completed in 2025, will be dominated by traditional building styles and New Urbanism.

A vision of Great Britain

He also wrote a book called “A Vision of Britain” in 1989. In it, he argued that traditional building methods and aesthetics should also influence the future of Britain. He is known as an admirer of traditional architecture. In 2014, he wrote in The Architectural Review that it was time for a more mature architecture.

The question now is how King Charles will interact with architecture and urban planning in his new role – will he be able to inaugurate modern buildings as gracefully and dutifully as his mother?

One place that King Charles is sure to have an opinion on is currently under construction in the London borough of Greenwich – the London Design District. Eight renowned architecture firms from all over Europe have designed a total of 16 studio buildings here. One pair of buildings draws its charm from the sophisticated aluminum facades used by the architects. What does it look like? Here you go: studio houses by Barozzi Veiga.

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On October 2, Burkhardt-Löffler held its first joint in-house exhibition with Weha. According to Weha Managing Director Stefan Deschler, 85 participants had registered for the event. At the in-house exhibition, which was scheduled at short notice, they were able to see new machine developments in the flesh – as well as other innovations. With large machines from Burkhardt-Löffler from all application segments of stone processing […]

On October 2, Burkhardt-Löffler held its first joint in-house exhibition with Weha. According to Weha Managing Director Stefan Deschler, 85 participants had registered for the event. At the in-house exhibition, which was scheduled at short notice, they were able to see new machine developments in the flesh – as well as other innovations.

With large machines from Burkhardt-Löffler from all application segments of stone processing – all equipped with Weha tools – the open day perfectly demonstrated the synergies of the new partnership. In addition, Weha presented several small machines and transport equipment as well as transport vehicles from its product range. And finally, Akemi was the third partner to contribute to the success of the event with a demonstration of its product range.

In the October issue of STEIN 10/20, we reported that Burkhardt-Löffler had already explicitly invited smaller groups to machine demonstrations and factory tours at the company’s sites in Bayreuth and Langenaltheim. With the major event at the beginning of October, the machine manufacturer, together with its new partner Weha, has now provided an important additional impetus for boosting the capital goods business.

The Powerjet 3D waterjet system with the new head developed in-house was of particular interest – mainly because the machine could be experienced in action throughout the day. Software developer Benedikt Maiser also presented the company’s own calibration unit, which can be used to determine the perfect tool center point (TCP). The measuring device compensates for the wobble error of the C-axis and determines the exact distance to the focusing tube.

“We then know exactly how many millimetres we need to compensate in each direction – i.e. for the X, Y and Z axes,” explains Maiser. He uses this to set up the Powerjet 3D in the factory before delivery; the calibration unit is only needed again later if the machine is moved or the customer has had a crash.

In any case, customers appreciate the fact that they can come by with their materials before buying a machine and be shown exactly how to cut them. Maiser and his colleagues can then use the customer information and the material to make recommendations regarding the various machine parameters: from focusing tube and nozzle size and type to sand quantity and type to pump pressure.

Purchasing Manager Michael Hannweber adds with regard to the waterjet machine that the cutting head development is particularly impressive due to the hollow shaft gearbox. This means that the electrical system and high pressure can be fed directly into the 3D head, and there is no longer any need for a pipe spiral or slip ring rotary feed for the electrical signals.

Other visitor magnets were the BAZ 2000 machining center, which, according to Burkhardt-Löffler, has revolutionized the concept of the machining center with automatic suction cup positioning and loading, and the KSL 80 automatic table edging machine, where Weha presented its magnet mounting system, which has been tried and tested for more than 30 years and now has three magnets and is distinguished from competitor products by the fact that the VA buttons of the very quick-clicking triple lock are attached to the base plate instead of the tool.

Burkhardt-Löffler also exhibited the LDZ 2000 K, the compact rotary head saw in monoblock design developed jointly with partner Weha, which we had already presented in STEIN 10/2020. This compact machine can also be set up in companies with limited space. At the in-house exhibition, the machine was shown with the 400/60 UNIV-2 natural stone diamond cutting blade.

Weha also recommended its two new 400 mm Pro-Q and Weramic-yellow blades, which are especially suitable for quartzite and all types of ceramic. Visitors were not yet able to see the planned new KDL-B automatic band edger in action, but according to Stefan Deschler, there have already been many inquiries for it. Thanks to its many years of representing Comandulli machines, Weha has good contacts in the industry, especially with stone processors interested in a belt-driven edging machine.

Many visitors were also interested in the Pantograph 1215 engraving machine presented by GTech company owner Boris Malacko, and the Fuso Canter equipped with a Ferrari loader crane and the compact Roboman Junior crawler vehicle – also with a Ferrari crane – in the outdoor area were surrounded by interested parties throughout the day.

Exhibitor Akemi provided the icing on the cake of an exciting event. Application engineer Otello Piroddi and his colleagues showed, among other things, the new Akepur 250 High Tack for the safe and temperature-resistant bonding of a variety of substructure materials under ceramic, natural and artificial stone.

Another highlight from the construction chemicals manufacturer: the new color paste system, which is particularly suitable for smaller companies and very complex finishing work and, together with the Platinum adhesive, enables an almost inexhaustible variety of colors. The Spectrum Pastes case for up to 60 coloring pastes in 45 gram tubes can be purchased empty and loaded individually. Dry dedusting systems from Weha as well as the BSS 600 wire saw and the CSA 598 industrial band saw system from Burkhardt-Löffler rounded off the extensive in-house exhibition presentation.

Visualization of the Rhine-Ruhr Olympic Stadium: A sustainable athletics stadium as a central component of future-oriented urban development in North Rhine-Westphalia. © planquadrat Elfers Geskes Krämer GmbH

Visualization of the Rhine-Ruhr Olympic Stadium: A sustainable athletics stadium as a central component of future-oriented urban development in North Rhine-Westphalia. © planquadrat Elfers Geskes Krämer GmbH

The Rhine-Ruhr region is facing an exciting new challenge: the vision for an “Olympic Stadium Rhine-Ruhr” could become the starting point for a forward-looking urban quarter.

Planned as a temporary sports venue for the 2040 Olympic and Paralympic Games, the stadium will not only serve as an arena for global sporting events, but also as a basis for the creation of sustainable and resource-conserving urban development. With a clear focus on the circular economy, modular construction and climate-friendly design, this project is setting new standards for the urban planning and architecture of the future.

The “Rhine-Ruhr Olympic Stadium” will not just be a sports facility in the conventional sense. Rather, it will serve as a central building block for the development of a new, liveable urban quarter. The vision is based on the concept of using the stadium as a temporary facility during the Olympic Games and then converting it into a modular, sustainable structure that can continue to be used after the Games. This modular approach allows the stadium to be easily repurposed for later use as housing, office space, sports facilities and kindergartens.

The stadium is at the center of a new quarter that is being built on a former industrial wasteland in the Rhine-Ruhr region. Due to its central location and excellent connections, this brownfield site offers the ideal conditions for the development of a district that will not only offer modern architecture, but also a high degree of sustainability in its structure and use.

The “Rhine-Ruhr Olympic Stadium” has been geared towards sustainability from the outset. It is not only about the environmentally friendly design of the stadium itself, but also about the long-term use and conversion of the entire infrastructure. The concept is based on a modular construction method in which materials and resources are used as efficiently as possible in order to minimize the project’s ecological footprint.

The planned use of the former industrial site is a prime example of sustainable urban development. By consistently applying the principles of the circular economy, the area will be designed as a resource-conserving and climate-friendly living space for the future. After the Olympic Games, the stadium will become a symbol of progressive urban planning that meets the requirements of climate protection and resource conservation.

In addition, the entire district is being planned as a “city of short distances”. This means that living, working and living spaces are connected in such a way that residents have to travel as few distances as possible by car. This encourages the use of public transport and cycle paths, thus helping to reduce CO2 emissions.

A key component of the project is the close collaboration between architecture, urban planning and landscape architecture. The renowned landscape architecture firm geskes.hack from Berlin, together with the architecture and urban planning firm planquadrat Elfers Geskes Krämer GmbH, has developed a concept that sees the “Rhine-Ruhr Olympic Stadium” not only as a sports venue, but also as the center of a green, open space.

A large park is to be created in the center of the new urban quarter, which will serve as a meeting place for residents and visitors. The park will not only be a place for recreation, but also an important part of the district’s environmentally friendly infrastructure. Green spaces, water features and sustainable horticultural concepts will be combined here to improve the microclimate while creating a place for social interaction and the common good.

The use of rainwater management systems and the promotion of biodiversity are also taken into account. The park will thus not only contribute to recreation, but also to the ecological stabilization of the urban space and sustainably increase the quality of life of the residents.

The “Rhine-Ruhr Olympic Stadium” project represents a significant step in the development of sustainable cities. It combines innovative concepts of urban planning and architecture with a sustainable approach that meets the challenges of climate change. The modular construction of the stadium and the integration of the circular economy into the overall development of the district will create a model that shows how sports infrastructure can be designed in a sustainable and resource-saving way.

The new quarter will not only be a modern living space for the population, but also an example of future urban development. It will meet the demand for housing, workplaces and open spaces and at the same time play a pioneering role in terms of sustainability and resource conservation.

The “Rhine-Ruhr Olympic Stadium” is more than just a sports facility. It is the centerpiece of an innovative and sustainable urban project that not only meets the requirements of modern urban development, but also makes an important contribution to climate protection and resource conservation. With a clear focus on sustainability, modularity and the circular economy, this urban quarter will be a model for the cities of the future and create a lasting legacy for generations to come.

Find out more about the 2024 Summer Olympics in Paris and its impact on urban planning and architecture here.