2012 Index


Dream Isle London is a city and cities are alive. They breathe, they grow, they spawn, they die and they dream. This is London’s dream.


26


THE WHISPERING GALLERY OF ST. PAUL’S CATHEDRAL


WIMBLEDON, SW19


The All England Lawn Tennis Club in Wimbledon hosts the world’s premier tennis tournament at the end of June each year. Rain


stopping play during Wimbledon


fortnight has become as much an institution at SW19 as strawberries and cream - the groundskeepers of the rye grass courts furl and unfurl the rain covers in tune with the capricious movement


of black skies


overhead. The pigeon population at the All England Club has dramatically declined in response to an increase in the number of hawks and trained


marksmen. Magpie


numbers in the area are, however, on the rise.


The European magpie, Pica pica, appears frequently in European folklore, known for its tendency to steal and horde shiny objects. According to tradition, one should pinch oneself as if in a dream on sight of a lone magpie to ward off


members of the corvidae family, magpies become


attached


ill fortune. Like other to particular nesting


grounds, and are portents of doom should they abandon them.


At this particular moment on the Dream Isle, the British Museum and the grass courts of Wimbledon have fused into a hybrid entity, coming into being through the aid of a tidings of magpies. As grey clouds threaten, a thousand black and white feathered stewards, tethered to the perimeter of a folded grass tarpaulin, take flight and open out a canopy to protect the hoard of artifacts and treasures they have accumulated since 1753.


In the 16th Century the main thoroughfares of city, built in timber and plaster, would act as echo chambers giving rise to a unique ‘London Sound’. The murmuring of the City would


intensify London, Paul’s, in reaching different ninety-nine feet pockets above of its apotheosis in the


whispering gallery of Wren’s masterwork. Running around the interior of the dome of St


the


cathedral floor, a whisper against its wall is audible to a listener with an ear held to the wall at any other point around the gallery.


London’s soliloquy resonates within colossal teacups embedded in the island’s spongy earth. The susurration is composed from an amalgam of tongues, drawing on words from one dialect that make no sense in another. If a listener spoke every language from every era, perhaps the secrets of the city would be revealed.


979


T e Urban Shepherdess – City Pastoralism and a Droving Renaissance for More T an Just a Meal


Pencil drawing Geraldine Ng


In response to society’s gluttony for eating meat, this project assesses the detrimental eff ects of intensive meat production on the environment and highlights the removed association we have with the origins of our food. It proposes re-examining past city farming traditions.


980


Dream Isle: London, T e Narrative Blueprint Print Studio 8 Architects


T e denizens of the Dream Isle comprise puff ed-up swans borne on sedans and an anarchic monarchy circled by members of parliament (dressed as sharks).


BUCKINGHAM PALACE


The 775 rooms of Buckingham Palace have served as the official London residence of Britain's sovereigns since 1837. The Throne Room is dominated by a proscenium arch supported by a pair of winged figures of 'victory' holding garlands above the 'chairs of state'.


The British Royal Family is the world’s most famous family. The British tabloids are the world’s most powerful press. The relationship between these two formidable institutions is symbiotic - the Windsors help the press sell newspapers in return


for their celebrity, stature and power,


simultaneously satisfying the public’s voracious appetite for scandal and voyeurism.


The fenestration of the Palace appears on the Dream Isle as colossal proscenium arches – or perhaps the rest of London is miniaturized, it is impossible to tell. The arches are not windows onto the world, but windows onto the palace, where the Royal Family, unwittingly or otherwise, stage the world’s favourite soap opera and original reality show.


THE BRITISH MUSEUM


The British Museum is a universal museum holding an encyclopædic collection of material from across the world and all periods of human culture and history. For the benefit of its audience now and in the future, the Museum is committed to sustaining and improving its collection. The Museum deplores the looting of antiquities with the ensuing damage to archaeological sites and loss of cultural context. The Museum does not acquire objects that are known to result from such looting.


At this particular moment on the Dream Isle, the British Museum and the grass courts of Wimbledon have fused into a hybrid entity, coming into being through the aid of a tidings of magpies. As grey clouds threaten, a thousand black and white feathered stewards, tethered to the perimeter of a folded grass tarpaulin, take flight and open out a canopy to protect the hoard of artifacts and treasures they have accumulated since 1753.


NEW BRITTANIA


The Second British Empire came into being when Great Albion dispensed with the sword and took up the pen. Invading the world by culture instead of military might, the BBC World Service and the Beatles floated out across the airwaves, the Mini Cooper became a cinematic star, and Messieurs Lipton and Twining appropriated tea from the Orient and sold it back as a symbol of Britain.


London’s mental picture of the world is a perfectly circular flat disc. In this world, London lies at the epicenter, its unique spirit rippling out and transforming every outcrop it touches before spilling over the edge into the ether. In time, as with all things, the well will run dry, whereupon London shall re-imagine itself again, replenishing the source that will nurture future empires.


the lend lease / architects’ journal awards


Feeding on the memories of its visitors and cosmopolitan populace, London’s dreams traverse icons such as St. Paul’s Cathedral, the Houses of Parliament, Primrose Hill, Trafalgar Square and the green courts of Wimbledon, but not as we know them. In these dreams, the city itself is the protagonist.


Causality and reason drift through the gargantuan proscenium windows of Buckingham Palace and across the roving kaleidoscope of the realm’s ancient mounds of tea and baked sponge. The denizens of the Dream Isle comprise puffed-up swans borne on sedans and an anarchic monarchy circled by Members of Parliament (appropriately dressed in shark costumes), while a skein of magpies unfurls the British Museum, daily revealing their horde of sequestered treasure.


Dreams, like cities, shape us and are shaped by us. Architects would have us believe that the edifices that make up the city are immutable and solid, monuments to their designers’ immortality. They are not. In both London’s imaginings and reality, landmarks and events assume shifting magnitude and significance, constructing distorted maps of desire and experience. Narrative obeys no logic as London searches for an ever- changing identity imprinted by its waking life. Time, scale and relationships become fluid, and the city is forever on the brink of the strangely familiar and the familiarly strange.


PRIMROSE HILL


Primrose Hill, at a height of 256 feet (78 m), forms part of an elevated region known as the ‘northern heights’ lying between the smaller eminences running from London’s North in a north-westerly direction. At the hill’s apex at the north end of Regent’s Park, there is a small plateau at the confluence of


several


footpaths where the viewer experiences the London panorama in more detail than from


any other location. The


kaleidoscopic view takes in Trellick Tower to the West and Canary Wharf to the East.


As such, the tyrannical gaze of Primrose Hill wields great influence on the shape of London, shackling its natural growth. The vistas to the Cathedral of St. Paul and the Palace of Westminster are determined by geometrical definition, slicing two conical voids through the city that no man-made edifice may encroach.


Primrose Hill manifests itself on the Dream Isle as a roving telescopic contraption promontory


mounted on a of air-filled Victoria


sponge. Watched through this kaleidoscopic lens from on high, the Dream Isle takes the form of a giant glass petri dish, its components jockeying like bacterial cultures for dominance, continuously shifting scale and morphing into one another.


982


T e New London Necropolis Plan I Giclée print Steven Baumann


981 T e Unfi nishing School Paper and printed ink Sam Clark


T e Unfi nishing School in Sanchong City, Tapei, forms part of a wider study on generating, while preserving, connectivity within a dense urban environment. Sited among three very diff erent schools, it coalesces the public and private realms simultaneously by establishing a structural manifold of conceptual and concrete boundaries. It is a playground for competition and collaboration between the schools and their students.


T is piece is part of an extended work in which the programmes of a necropolis, orchard and power station overlap to form an architectural proposal within the City of London. It seeks to link the life-cycles of plants and people so they might be viewed as entwined and interdependent rather than unrelated entities.


985 984


T e College of Faith & Reason Pen and pencil Dijan Malla


983 T e New Arcadian Park Paper Martin Tang


Tang’s proposal located 51’31’55’ N, 0’9’24’ W is a combination of elevations, sections, plans and illustrations to convey a vision of harmony with nature. Featuring bees, bats and deck chairs, the visualisation suggests a large dome structure covered in a lightweight material.


T e architecture works playfully with the occupants’ preconceptions of the relationship between private and communal spaces, engaging all the senses as a means to encourage and increase communication and collaboration.


Columbarium at Colònia Güell – Section


Giclée print Eleanor Dodman


T is longitudinal section highlights the fl owing, coloured glass surface, encircling and blurring an imagined columbarium. T e columbarium is adjacent to Antonio Gaudi’s Church of Colònia Güell, work on which was interrupted by Gaudi’s death. It is located in Santa Coloma de Cervelló, near Barcelona.


986 Norfolk Ink Paul Koralek RA


Known for his modernist ethos and enjoyment of complicated settings, Koralek has submitted six ink sketch drawings into the Royal Academy Summer Show this year. T e Norfolk ink drawing shows a soft landscape with fi elds that are defi ned by hedgerow. In the distance a church sits delicately within the landscape.


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