Glashutte, France by Oswald Mathias Ungers 1985 (c) Stefan Mueller The Architecture Gallery, RIBA: 9 September 2015 – 9 January 2016#PalladianDesign The Renaissance architect Andrea Palladio is the only architect who has given his name to a style; one that is still in use around the world after nearly 500 years. From the US Capitol to a 21st century Somerset cowshed Palladian Design: The Good, the Bad and the Unexpected introduces Palladio’s design principles and explores how they have been interpreted, copied and re-imagined across time and continents from his death in 1580 right up to the present day. Focusing on his legacy, RIBA’s exhibition explores how architects such as Inigo Jones and Lord Burlington turned Palladianism into a national style. The style was adopted in the design of houses, churches and public buildings around the world from New Delhi to Leningrad. Palladianism became so widespread that it seeped into peoples’ unconscious references and desires – elements were found popping-up in American Negro Churches and terraced housing and homes in the UK. The 20th century saw a revival of traditional Palladian mansions while the 21st century has seen his design principles being utilised in a more abstract way. The exhibition asks many questions about what makes a building ‘Palladian’ – does a building have to look classical to be Palladian? Is it the design principles or the social and political connotations of tradition, power and establishment that have led to the enduring popularity of the style? The exhibition is structured chronologically around three themes: revolution, evolution and the contemporary. It includes 50 original works, including drawings, models and busts. The first part of the exhibition introduces Palladio and outlines his unique system of architecture. It charts the development of Anglo-Palladianism from 17th Century England, through to the transformation of Palladianism into a national style by the mid-18th century. It also explores the role of books in spreading Palladio’s ideas – both his own Four Books of Architecture and later publications that spread Palladian style beyond Britain. Highlights include Palladio’s A Design for a Palace (1540s) and projects for low-cost housing in Venice (1550s); original drawings by Inigo Jones include a preliminary design for the Queen’s House, Greenwich (1616); Colen Campbell’s original pen and wash design for Mereworth Castle, Kent (1723) and an original drawing of Lord Burlington’s Chiswick House (1729). The second part of the exhibition follows Palladio’s legacy worldwide in a series of themes that explore how others have either followed his guidelines to the letter or employed them more creatively. It looks at how Palladian design has been adopted for commercial viability and in the service of politics and religion – both in western countries and in colonial and post-colonial contexts. Away from the centres of power, people turned their hand to Palladian self-builds with anonymous builders using pattern books to fuse Palladian elements with local vernacular traditions. Highlights include the original 1721 model of St Martin-in-the-Fields church by James Gibbs, a perspective of Catherine the Great’s Pella Palace near St Petersburg by Ivan Starov (c.1786), a watercolour perspective of Stormont in Belfast by Sir Arnold Thornely (1927) and Palladio’s original designs for the Villa Valmarana (c.1560) and the Palazzo Antonini (c.1560). The last section of the exhibition follows the story of 20th and 21st century Palladianism. Despite the rise of modernism, Palladianism survived in Britain and America as a domestic style both for landed families and the newly rich who commissioned grand classical homes to evoke a sense of history and confer status. Highlights include a linocut perspective of Kings Walden Bury, Essex by Raymond Erith and Quinlan Terry (1971) and photographs and models of houses built since the 1960s. The exhibition goes on to explore post-modern Palladianism, where the style has been referenced historically, playfully or ironically. Key exhibits include works by Swedish architect Erik Asplund and Belgian architect Charles Vandenhove alongside other new buildings on the continent and in Canada. The exhibition ends by examining contemporary abstract Palladianism – buildings that contain no visual references to classical architecture but follow Palladian design principles in terms of proportion or planning. It asks whether a building has to look like a Palladian building in order to be one? It will include a newly commissioned film comparing Palladio’s Villa Caldogno with Brick House (2005) by Caruso St John and looks at a selection of contemporary buildings, ranging from a model of an underground house in Mongolia by OFFICE Architects to offices in Switzerland by Peter Märkli. The exhibition coincides with the 300th anniversary of the publication of two books key to the spread of Palladianism worldwide – Giacomo Leoni’s first full translation into English of Palladio’s I Quattro Libri dell’ Architettura and Colen Campbell’s survey of English architecture Vitruvius Britannicus, both published in 1715. These books paved the way for a flood of cheaper pattern books that enabled anyone, from Russian royalty to a American carpenters, to create Palladian designs. The RIBA Collections contain over 350 drawings and sketches by Andrea Palladio; the world’s largest assemblage of his drawings – 85% of all those in existence. The exhibition is designed by architects Caruso St John. The design takes its inspiration from the interior of Palladio’s villas and the way that his Four Books of Architecture have been used by generations of architects. The palette will reference Villa Caldogno’s frescos. Palladian Design is generously supported by the Blavatnik Family Foundation, The Headley Trust and the American Friends of the British Architectural Library. Ends Notes to editors: 1. For further information visit www.architecture.com/PalladianDesign or contact Beatrice Cooke in the RIBA press office: beatrice.cooke@riba.org; 020 7307 3813 2. Press images can be downloaded here: https://riba.box.com/s/hss7iwdb46oihlfrp8erkcfwza6jtzmh 3. The Press View will take place at 09.30 on Tuesday 8 September at The Architecture Gallery, RIBA, W1B 1AD. Please RSVP to beatrice.cooke@riba.org 4. Palladian Design: The Good, the Bad and the Unexpected was co-curated by Charles Hind and Vicky Wilson. Charles Hind is Chief Curator and H.J. Heinz Curator of Drawings at the Royal Institute of British Architects,

16 June 2016 | Herpreet Kaur Grewal Harrow Green has signed a two-year framework contract with YPO.   YPO was established over 40 years ago by local government authorities to help combine their procurement demands and achieve efficiency savings. YPO supplies products and services, and is 100 per cent publicly owned.   The Removal Solution framework, which went live on 16 February 2016, means that Harrow Green will act as a single provider managing the provision of services relating to removals, storage, specialist disposal and associated services and trades, all of which can be accessed free of charge by public sector organisations across the UK.   Harrow Green will collaborate with the public sector to develop a local supply base and economy through engagement with ‘tier two’ local suppliers, and will act as a single point of contact between each participating contracting authority and its supply chain.   Some of the benefits for the users of the service include: social value benefits through the use of local subcontractors; access to specialist project management services; access to specialist removal services; support of environmental objectives; provision of full audit trail and reporting service to contracting authorities; access to secure off-site storage; and secure disposal of IT equipment and confidential data.   Harrow Green’s contract could be extended by a further two years.     Nigel Dews, managing director of Harrow Green, said: “This is a significant contract and we look forward to developing a very strong relationship with YPO and contracting authorities. We will be working closely with them to manage and deliver an efficient, high-quality service.” Source link

New Bylaws have been introduced in Wokingham that the Council hopes will reduce the flood risk in areas such as Arborfield. Wokingham Borough Council now have legal anti-flooding powers that will allow the Council to prosecute people who cause blockages to watercourses or damage to riverbanks that could lead to an increased risk of flooding. These new land drainage bylaws that have been introduced means that there cannot be any developments built within eight meters of drainage ditches. This restriction is thought to reduce the risk of flooding created by manmade obstructions or damage. The penalty for breaking the bylaws that have been introduced by Wokingham Borough Council could lead to a court appearance at the Magistrates as well as a significant fine and a criminal record. The Council applied for the legal powers that would allow them to control the changes to watercourses as well as manage the number of obstructions and disruption to vegetation. The borough council had to apply to the Department for Environment Food and Rural Affairs, or DEFRA; which they have done successfully in order to be granted with the legal powers to reduce the manmade factors that can lead to flooding. The legal powers have been granted after a public consultation that took place last year. The specific bylaws in Wokingham will give the council control over any land that is within eight meters on either side of the bank of a ditch in the council area. This means that developers and farmers that are looking at building houses or any form or agricultural structure will be prevented from doing so near a ditch in order to make sure that there is no change to the natural flood plain. This also means that there will be a buffer zone created for wildlife as well as protecting homes from flooding. Landowners will also be made to make sure that any livestock in these areas do not damage the riverbanks by installing fencing and any vegetation nearby needs to be cut in order to allow the free flow of water.

Great design at heart of £325m electric vehicle project – London Taxi Company (LTC) has hailed the designers of the ambitious firm’s state-of-the-art electric vehicle manufacturing facility in the West Midlands, as part of the business’ £325m electrification project. Birmingham-based interior designer architects Monteith Scott designed high-quality interiors – and worked with a feng shui consultant – for the impressive new facility at Ansty Park in Coventry. Ansty is the UK’s first car plant dedicated solely to the production of range-extended electric vehicles, and is where the world’s first purpose-built, electric taxi will be made. LTC has also announced that it will also build electric vans at the site. The investment in the new site and the development of the next generation taxis and vans will create over a 1,000 new jobs, including 200 engineers and 30 apprentices. Monteith Scott, which has delivered successful working environments for companies across the UK, was appointed to deliver an inspiring workspace across three floors of the new plant. The project included a reception area, a 270-seat restaurant, gymnasium, locker rooms and toilets. The company worked alongside BHP Architects on the scheme. Alison Monteith, managing director of Monteith Scott, said: “The black cab is a truly iconic piece of London culture, known around the world, so it’s incredibly important that the space in which they’re manufactured reflects this. “This has been a very exciting project for us to be involved with and, as the vehicles switch from diesel to electric, we were keen to present an environmentally friendly workspace that demonstrates the company’s commitment to the production of ultra-low emission vehicles. We worked with a feng shui consultant on key areas, to align the interior with the business ethos and to aid productivity.” Paul Woolley, Chief Operating Officerat London Taxi Company, said: “On this electrification project our core belief has been that quality begins with good design, so it was natural we would work with a top architectural designer. Monteith Scott have created a bright, comfortable high quality work environment and we are thrilled with the result.” The London Taxi Company became part of the Zhejiang Geely Holding Group in 2013, and its owners say this investment is a sign of China’s confidence in the UK post-Brexit. The opening of the new plant set several records. It is the first brand new automotive manufacturing facility in Britain for over a decade, the first dedicated electric vehicle factory in the UK, and the first major Chinese investment in UK automotive. LTC have worked with many businesses in the West Midlands to deliver this project, making the most of the area’s rich automotive heritage. Architectural interior designer specialist Monteith Scott, based in the Jewellery Quarter, Birmingham, is led by managing director Alison Monteith and design director Derek Matthews, and operates across a range of sectors.