Londen deel 2: Noord

Robbert Jongepier

deel

2:

noord

Bibliotheek

TU

Delft

IIllmU\I\ I III

C

0003831871

8337

173

8

Robbert Jongepier

deel

2:

noord

Delftse Universitaire Pers / 1987

Uitgegeven en gedistribueerd door:

Delftse Universitaire Pers

Stevinweg 1

2628 CN Delft

telefoon: (015) 783254

In

opdracht van:

Faculteit

der Bouwkunde

Technische

Universiteit Delft

Berlageweg 1

2826 CR Delft

telefoon:

(015) 784737

CIP-gegevens Koninktijke

Bibtiotheek~

Den Haag

Londen

/ Robbert Jongepier

De

lft: Delftse Universitaire Pers

Deel 2: Noord. - 111., krt.

Met

index, lit.opg.

ISBN

90-6275-345-0

SISO eu-enge 717 UDC 72i(421) NUGI 923

Trefw.:

bouwkunst~ Londen~

geschiedenis.

Copyright

@

1987 by Robbert Jongepier

Att rights reserved. No part of this book may be

reproduced in any form by

print~photoprint~mioro­

fiZm

or

any other means without written

permissi-on from the pubtisher: Detft University

Pre8s~ Detft~The

Nethertands.

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CROSS SECTION

TH~ PLAN. Service rooms are planned as a self-contained flat on the ground floor. Living-rooms are all on the first floor. The dining-room is served direct by lift from a servery adjoining the kitchen. Heating chamber and

storage space are in the basement.

GROUND HOOP.

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2.7

,

....

"

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/ . '-" Vlk, .... References:

HlCiHPOINT lWO

H. R. Hitchcock, 'Modern Architecture in England', MOMA, New Vork, 1937 (Cat. No.54).

J. M. Richards, 'An Introduction to Modern Architectu~3', plate 21 & pp.l06-07, Penguin Books ltd, Harmondsworth, 1940 (1 st edn).

F. R. S. Yorke and F. Gibberd, 'The Modern Flat', pp.134-39,

Architectural Press, Lendon, 1937 (lst edn).

A & BN, 10 January 1936, Criticism by Howard Robertson.

A & BN, 15 January 1937, 'An American Critic in England', H. R. Hitchcock.

AJ, 1 .November 1934, 'Contem;:orary Industrial Design -Exhibition at Dorland Hall' (a discussion of a mock-up of a flat

in Highpoint, then under construction).

AJ, 17 January 1935, pp.113-19 ('Analysis of a Building', good coverage).

AJ, 2 May 1935, pp.660-64, p.685 (the rationale for the schemel.

AJ, 14 November 1935, pp.739-40.

AJ, 16 January 1936, 'The Year's Work', Professor C. H. Reilly.

AR, vol.79 (January) 1936, pp.5-16. The fullest coverage offered in the contemporary magazines, inciuding critiques by J. M. Richards and Le Corbusier ('The Vertical Garden City').

The Builder, vol.150, 14 February 1936.

RIBA Drawings Collectien: Typical Flat plans A & Band cutaway isometrie drawing, RAN 19/E/l 1-3.

2.8

.. - - - -ft tç ___ .L I , I : _{_ 3} I _I I I I I I. I I r-~ - - - - 7 / I I I \ \ I / \ \ \ ~-f \ \ \

---+

References: I I J.._,. I I Ie I I I I I I I 3

e,

I-, I

Ill.._

:

Jf- - - -_{7 • _____ 4!.}

~M\c. ~~

3. bCÀl~~~ 4'- c<V'1AtlAc...

A & SN, 14 October 1938, pp.30-31 (the caryatids); PP.35-42 (good genera I coverage); supplement on ~itchens at Highpoint Two.

AJ, 6 January 1938. Astragal.

AJ, 13 October 1938, PP.601-07 (good genera I coveragel.

AJ, 1 December 1938, pp.907-08 (details at Highpoint Two).

AJ, 19 January 1939, p.136, 'The year's work at home', Professor C. H. Reilly.

AR, October 1938 (the fullest contemporary coveragel. PP.161-64,

'Modern Flats in Highgate'; pp.165-75, 'Highpoint Number Two', a critique by J. M. R ichards; p.176, 'A footnote on scu/pture', an argument for the caryatids.

Focus 2,1938, pp.76-79, a critique by A. Cox.

RIBA Drawings Collection: RAN 19/F/1-6; RAN 19/G/I-5;

RAN 19/G/6-8. Design drawings and explanatory drawings made for Planning Applications. Elevations of Highpoint One and Two.

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straatwand en Wiscombe Street is correct. De belangrijkheid vàn de invloed van de opzet en structuur van de 18de en 19de eeuwse ste-delijke ontwikkeling in aUe drie de projecten, het opvallendst in Alexandra Road. wordt echter niet opgemerkt. In grove lijnen zijn de projecten grotendeels traditionael. als die term ze ondarschaldt van aen typisch modern ruimtegabrulk. Er zijn natuurlijk ook bronnen- bin-nen de 'Moderne Beweging' zelf aan te wijzen. maar Gledlon be-schrijft in Ruimte, Tijd en Architec-tuur de Engelse 18de eeuwse wo-ningbouw als model voor een de-mocratische architectuur. Conti-nuïteit. in zowel fysiek als cultu-rael opzicht. is erg belangrijk voor mij. Het probleem is dat we nog steeds gedwongen worden om be-wuste beslissingen te nemen op

'conceptuele' gebieden. waar In

het verleden geen vragen gesteld werden. omdat traditionele model-len. slechts onderhevig aan kleine wijzigingen. overheersend weren. De elementen van deze modeUen zijn gemeenplaatsen als gevel, re-petitie, hiërarchie en de classifica-tie van ruimte. Ik aanvaard echter de paradoxen en dubbelzlnnlghii-den die ontstaen door tegenstrijdi-ge waarden en Ik heb een afkeer van het streven naar helderheid ten koste van waarden. die gedu-rende de laatste vijftig en zestig jaar door de Moderne Beweging zelf als belangrijk erkend zijn. Het Is dit selectief en bewust toepes-sen van tegenstrijdige waarden. dat traditionele vormen wijzigt. Je zou kunnen bewaren dat een der-gelijke beslissing aUeen mear fout kan zijn en det een werkelijke er-chitectuur aUeen kan bestaan al, fundamentele vragen niet gesteld hoeven te worden.'

K65 - HOUSES, 1-3

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GOTHICK

T

OWARDS

the end of the eighteenÜJ. century there was noticeable

in almost every sphere of human activity a growing craving for

Romance. In architecture this nostalgia was particularly niarked

and took the form of a polite enthusiasm for the styles of far away and long

ago. Chinese, Indian, Egyptian and Gothic methods of building all in

turn enjoyed a remarkable vogue among the

cognoscenti,

but it was the last

style that proved most popular and the revival of which was to prove,

though not at Ollce, most disastrous for English architecture.

50

long as

the traditions and conventions governing the thought and manners of the

eighteenth century remained in force, all was weIl. The patrons

ofarchitec-ture were enlightened and well-educated men who were perfectly aware

that a wholesale revival of Gothic methods of building would be intolerable,

but regarded, quite rightly, the building of a cottage or two in what they

hoped was a medieval but were quite certain was a picturesque style, as

perfectly permissible. Thus the ga ze bos, the

cottages omés

and the

summer-houses

wh

ich formed

'

the principal output of the

'

Gothic architects of the

period, bore little relation to any known Gothic style; they remained, in

fact, perfectly ordinary eighteenth-century cottages on to which had been

tacked a row of castellations and a couple of plaster gargoyles. Ninety per

cent of these productions had little connection with architecture at all but

were simply the work of smart interior decorators trying their hand at

landscape gardening, or literary amateurs of exhibitionist tendencies

creat-ing a suitable background for their carefully cultivated personalities.

Nevertheless, out ofthis innocuous and rather charming chrysalis would one

day come blundering the humourless moth of Victorian revivalism

.

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3 Subiet 9 Viewing bridge 4 House 10 Boardroom

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Fint floor.

architec!s: Terry Farrell Partnership

project architect: Josef Foges

project team: Neil Bennett, Alan

Morris, Clive Wilkinson, Caroline Lwin, Peter Jenkins, Doug Smith, JO,hn Letherland, Simon Sturgis, Mlchael Class, Craig-Downie, Satish Patel

engineers: Peter Brett Associates

M & E acomtic consuUants: Sandy Brown Associates contractors: Wiltshier Management Ltd '1'I\<~.t~e,,8+7 [~~eMUV~~

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