076 DIFFICULT SITES


could adapt to the highly unstable site. Indeed, the project’s iconic geodesic domes are an engineering marvel. Constructed using a framework of galvanised steel pipes, they are divided into 9m hexagonal modules and, instead of traditional glass, are fitted with cushions of lightweight, inflated transparent foil, which not only reduce weight but also allow the entire structure to remain completely free of internal supports. Te design exemplifies forward-thinking architectural ingenuity, enabling the Eden Project to maintain its diverse ecosystems under one elegant, futuristic aesthetic. As part of the RIBA display, a simple sketch outlines the initial concept, while a detailed site model demonstrates how the different- sized domes were made to fit snuggly into the quarry. Tere is also a fascinating sectional model showing a portion of a geodesic biome and a site plan illustrating how the structures link together. Compelling models, photographs and


drawings from RIBA’s collections as well as individual practices are seen at every turn in this exhibition. Among the highlights is a beautiful beechwood scale model of the new 27m-high Weston Tower at Westminster Abbey (2018), which was designed by Ptolemy Dean for a very restricted site squeezed between the south transept, King Henry VII’s Chapel and the Chapter House. Another large-scale model depicts Trafalgar Square in central London with the unrealised National Gallery extension proposed in 1984 by Ahrends Burton Koralek. Te prominent glass and steel tower, which appears strikingly incongruous, was famously criticised by King Charles III, then the Prince of Wales, as being totally inappropriate. His view was echoed by the press, politicians and public alike, which led to planning being refused and the proposal being scrapped in favour of Venturi, Rauch and Scott Brown’s postmodern scheme, which echoes the main building’s neo- classical rhythms and forms but subtly undermines them with its bunched-up, concertina pilasters. Another fascinating exhibit is the 1957


presentation drawing by Basil Spence for the new Coventry Cathedral, showing his radically modern design rising from the remains of the medieval original, which had been destroyed in November 1940 during one of the most intensive bombing raids of the Second World War. Having stood for more than 500 years, the cathedral was completely burnt out, leaving only its tower, spire and outer walls standing. Spence won the competition to find an appropriate architectural solution to the highly sensitive site and his scheme looked to preserve as much of the original structure as possible, proposing that the ruins would act as a garden of remembrance and a symbolic entrance to the new building. Indeed, Spence’s grand design is a visual embodiment of the journey from sacrifice to


Compelling models,


photographs and drawings from RIBA’s collections as well as individual practices are seen at every turn in this exhibition


Right The postmodern Sainsbury Wing of the National Gallery, by Venturi, Rauch and Scott Brown


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