Cullinan Studio Anthology by Cullinan Studio

CULLINAN STUDIO

The Foundry, 5 Baldwin Terrace, London N1 7RU +44 (0)20 7704 1975 design@cullinanstudio.com www.cullinanstudio.com

CULLINAN STUDIO

cast

CULLINAN STUDIO

Cast

The life of our 1 Baldwin Terrace building (formerly a foundry) and its materiality is not a fixed condition but rather an evolving enterprise. Inevitable redundancies create a rich palimpsest of archaeology to excavate, revealing urban artefacts that once contributed to the sense of place. As occupiers, this depth of character has been reinstated in our minds as we approached the imminent departure into our new adventure next door. We were interested in pilfering the past to create a new monument; not to invent an impressionistic pastiche of observations, but rather to investigate the well of conclusions that might otherwise be left unrecognised. The process of reproducing a discarded artifact isolates a detail from the whole and can acquire an alternative impressiveness that has significance beyond the framework of its era. A structural brace of the original foundry supported its construction and, in addition, created a stronghold to withstand the forces of a winch on the other side of the wall which would have been repeatedly used in daily life from the mid 19th century onwards. The remaining intrusion of the relic viewed from within 1 Baldwin Terrace was unrecognised by many, a stark contrast to the significance of the piece throughout its life. Soon to be hidden forever in a wall of insulation and plasterboard, we feel we have duly acknowledged, explored and recorded a piece of history integral to the workings of this building.

CULLINAN STUDIO

Cast

CULLINAN STUDIO

Cast

CULLINAN STUDIO

Cast

CULLINAN STUDIO

Cast

CULLINAN STUDIO

CORPUS

CULLINAN STUDIO

Knowledge and Social Justice by Irena Bauman Despite the need for each consecutive generation to re-learn what is already known, we constantly accumulate knowledge. It could be argued that the knowledge thus far accumulated is already sufficient to draw up and implement a plan to eradicate all injustice in the world and to achieve a good life for all. However, the possession of knowledge is not enough: in following closely the patterns of distribution of wealth and political power, knowledge is likewise unequally distributed, hidden, misrepresented and manipulated. Recently we have seen major challenges to the ability of the powerful elite to hide information: twitter revelations travel quicker than formal news items and bypass the filters of dictators, security guards, editors and politicians; journalists who acquire knowledge through unethical means are outed by other journalists; politicians who hide information are vulnerable to wikiLeaks; a spot light has also fallen on the chief executives and chairmen of financial institutions, exposing multiple misrepresentations and greed-driven foul play. The new knowledge emerges as the net impact of such exposures and we are better informed of the devious means by which recent decades of consumption were fuelled, and of the rapidly increasing inequalities in its distribution. But exposure of knowledge is still insufficient to move us to collective action. The power of knowledge is challenged by denial and forgetting â&#x20AC;&#x201C; the tools that allow vanity, greed and pleasure to trump sense of justice. We know so much about the future- the impact of changing climate is closely monitored and we can already see and measure its effects. We know that some resources are finite and we know that burning of fossil fuel is causing irreversible damage to the atmosphere. We know that all of us in the west are consuming more then we replenish, we know that

Corpus #1

we buy things we do not need, that we throw away 30 % of the food we purchase and that many of us do not use even a fraction of the space we say we need. But we are constantly denying that this knowledge requires personal action because to accept it would require us to let go of what we perceive to be our exclusive rights to the good life. From history we know that there have been many other models for structuring economy and society such as Schumacher’s Small is Beautiful or Steady State Economy promoted by John Stuart Mills, but those are denied and forgotten as the consumption fuelled lifestyle obscures any desire for long term considerations. So for those who do care for social justice, there are frustrating times ahead - we have to deal with the paradox of deeper and more available knowledge causing resistance to change that will lead to ever worsening conditions. But there is another way already spoken about by Mahatma Gandhi: ‘be the change you want to see in the world’. We each have the choice to use the knowledge we have to guide our personal actions.

Bus shelter in Bradford designed by Bauman Lyons Architects

CULLINAN STUDIO

Celebrating Cullinan by Peter Buchanan Although this does not apply to all modern architecture, much of it is very narrow in its concerns, ignoring context and culture, and focusing primarily on function and construction. But at least these are real issues. By contrast, postmodernists, a more pervasive movement than merely those who applied historic motifs, treat design as the illustration of spurious theories or scenarios. Another large group have turned modernism into a style without an agenda, while yet others, whether confused or despairing, merely chase fame and fortune by following the latest formal fashions. In contrast to all this, Cullinans has always ploughed an independent furrow, pursuing a wider range of concerns than most architects while remaining firmly grounded in the multiple realities impacting a project. Yes, it is concerned with function and programme, but has expanded this into a commitment with shaping vibrant communal dynamics by providing a range of opportunities for social interaction. Yes, it is concerned with construction and materials, but is constantly inventive in its approach to these and has now added a similarly exploratory and rigorous approach to pursuing sustainability. Cullinanâ&#x20AC;&#x2122;s architecture has also always been sensitively responsive to context and history, letting these influence choices of materials and aspects of composition, but also becoming an active presence in its setting rather than the pursuing a passive, life-sapping parasitism, such as results from being merely deferential. Although a Cullinan building is often recognisable as such, its final form emerges not from any formal preconceptions but from the process of exploring the concerns listed above, and many others as well, to see what emerges. Hence buildings as strikingly different from each other as the RMC1 Headquarters concealed below a formal garden, the shaggy yet structurally supremely efficient Downland Gridshell and the energy efficient pavilions of the Cambridge Centre of Mathematical Sciences, which create a whole hierarchy of opportunities for social engagement. It is important to note though that this range and unpredictability of form and expression is very different from the current obsessive quest for novelty and originality, the result of which are buildings of, at best, only passing interest. Much of the difference between such works Ready Mixed Concrete

Corpus #2

and Cullinan’s is that the former are largely ego-driven and the latter encapsulate a big-hearted generosity of spirit which includes that of service. It is this, combined with perpetual exploration, that accounts for the seemingly unself-conscious emergence of true originality. Many architects lack the open-mindedness, and are too concerned with the judgments of their peers, to permit themselves to embrace what can be such unconventional solutions. Ironically, many of the architects admired for their uncompromising approach – committed to raw concrete and glass blocks, say – are in fact the most timidly conformist – a charge that could never be levelled at Cullinan. Let’s close with a story that reveals some of what is admirable about Cullinan. Writing about one of the buildings, I criticised some details as being overly-explicit in expressing all of the components they brought together, thus drawing undue attention and detracting from the appreciation of the whole. I was invited to Cullinan’s office to elaborate on this point with him and the project architects. When the latter leapt to defend themselves, Ted stopped them to let what I had said sink in. Only after time for this did he offer his defence while recognising the legitimacy of my criticism. If there was a weakness in the work, he said, it was because it was “overly eager” – a wonderful choice of words –but how much better to be that than the antithesis.

Green roofs of the RMC Headquarters in Surrey

CULLINAN STUDIO

Place and Nature by Sue Clifford ‘What meaning does your construction have?’ …Where is the plan you are following...?’ ‘We will show it to you as soon as the working day is over; we cannot interrupt our work now.’…. Work stops at sunset. Darkness falls over the building site. The sky is filled with stars. ‘There is the blueprint,’ they say. (Italo Calvino. Invisible Cities. Picador, 1979)

Surely our highest aspiration should be to work with Nature. But less in the abstract and more in the quotidian, to lift life, to help people build relationships with each other and their everyday surroundings. It is the accumulation of story upon history upon natural history that makes each place unique. Places echo with meaning. Perhaps grand buildings, spectacular landscapes, rare wild life offer iconic images, but meaning resides in the commonplace and places are culturally maintained in daily activity. Places we want to be in, places we want to share, bind us, ground us, are part of what makes life worth living. Bringing change needs indigenous knowledge and tumbleweed expertise, local people and professionals, to help each other to understand the warp and weft, the vitality of the differences in detail and patina - the local distinctiveness that makes a place. Change is the dynamo of Nature. Long, quiet ecosystems weave an ever more intricate web. A forest fretted by fire or a valley rent by flood responds by exploring, developing possibilities. We have more responsibilities. When we seek to intrude on the assets of place familiarity, ‘ownership’, long explored ways of living together amongst the locally typical - we need to aim high and add richness. And we need to live within our means, to give Nature room.

Corpus #3

Choosing to use local materials, for example, can resonate deeply. Stone, brick or timber from a nearby quarry, pit or woodland will reinforce the colour and texture of a place. More, the lichens and mosses, plants and creatures will know how to use it. The impact of winning is understood and experienced directly, local people maintain jobs, lorries go by their window, memories of better or harder times remain in currency, longevity of experience may curb excesses: smaller scale working, close to us, keeps us in touch with the exploitation our lives demand. Culture is kept in good heart if intangibles also cling to the locality and with them comes appreciation, pride, identity, belonging: vernacular words and particular techniques, music rooted in songs once sung to help men work rhythmically together to split rock. Creating new reverberations demands creativity beyond design - fitting in does not mean regurgitation or stasis. Finely tuning new buildings to locale and people should offer each more depth of meaning, the potential for new connections should bring nourishment to place. Nature thrives on exploration and increasing complexity of relations â&#x20AC;&#x201C; animating difference. Deepening local distinctiveness, rather than homogenizing, feeds the humanity and imagination we shall need as Nature increasingly reminds us we are stardust, part of everything, but not necessarily golden.

Four exemplars of local distinctiveness

Dorset

Westmorland

Devon

Suffolk

CULLINAN STUDIO

Joy by David F. Ford In his collection Tongues, Micheal O’Siadhail1, a superb poet who engages both head and heart in the core questions of life and death, meditates on key words in different languages (mother, face, belief , forget, thanks, friend…) These meditations climax in lyrics of gratitude and joy, in response to those who first taught him Welsh, Norwegian, Icelandic, Catalan, German, French and Japanese. ‘A tongue to thank in’, ‘Most of all that sense of delight/Gift of joy…Ma∂r er mannz gaman. Man’s joy man.’, ‘A touch of joy in Poitiers’ late spring…Merci infiniment!’, and the final haiku: ‘In the beginning/The word. So too in the end./Birds of paradise.’ When I reflect on the greatest joy I have experienced in the Cambridge University Faculty of Divinity building, designed by Edward Cullinan and shaped in so many ways by Colin Rice, I think of the taking flight of conversation about and around many scriptural texts in many languages. Passing through the Faculty door, which is inscribed with texts on wisdom in Hebrew, Greek, Latin, English, Sanskrit, Syriac, and Arabic, vignettes of these fruitful conversations crowd in. There is a current Hebrew reading group of four or five. None of us except our teacher, Andrew Macintosh, is much good at Hebrew, but we revel in reading aloud a passage and then coming at it from various angles – including kindred words in Arabic, and translations into Greek in the Septuagint and Latin in the Vulgate. We follow red herrings with delight, and through it all there is the fascination of languages, the interplay of fields of meaning, and the new ideas generated through the effort of translation and seeing how others have coped. And all of that inseparable from the endlessly rich theological poetry of Isaiah or the Psalmist, or the wisdom of Proverbs. I think too of supervisions on the Gospel of John for two students at a time. They are taking my final year course on theological interpretation of John. I have already read their essays – on the literary craft of ‘John’ (if that is the author’s name – nearly everything about the origins of this Gospel is mysterious), or the first eighteen verses (the most influential short text in history, perhaps?), or the Gospel’s puzzling two endings, or ‘God’, or the Greek word menein – dwell, remain, stay. We are now free to take off in conversation around the text, and one can never predict what will happen, as interpretations down the centuries are explored, compared and improvised upon. Micheal O’Siadhail, Tongues (Bloodaxe Books, 2010)

Corpus #4

Most of all the joy has been in the practice of Scriptural Reasoning (see www.interfaith.cam.ac.uk ), as the Tanakh, Bible and Qur’an are studied by Jews, Christians, Muslims and others. It is best with around eight or nine participants, with each tradition represented by at least two people. Each brings an ‘internal library’ (Aref Ali Nayed’s phrase) to be drawn upon in this new event of the text’s history. Perhaps never before have these particular verses from each scripture been brought into conversation with each other. We take off in riffs of interpretation that resonate with past readers, while also reaching for a good reading for now. Ideally we find ourselves drawn into the complex joy of multiple deepenings – deeper into one’s own tradition, deeper into those of others, deeper into the common good of our shared world, and deeper into relationships of trust and understanding. Through all this there can be another, stranger joy. As we stretch ourselves in mutual understanding and face apparently irresolvable differences, we can improve the quality of our disagreement to the point where there is something like a miracle: we still disagree, but we are friends.

Preparing the graphics for screen-printing onto the Cambridge University Faculty of Divinity door

CULLINAN STUDIO

A Journal by Matt Gibberd My father only ever gave me one piece of careers advice, and it was as bald as the head on his shoulders: “Do anything you like, as long as it’s not architecture.” A lifelong architect himself, and the son of one of the Modern Movement’s most prominent figures – Sir Frederick Gibberd – he spoke from experience when he outlined the frustrations of cantankerous clients, obstructive planning laws and never getting anything built. Taking him at his word, I have indulged my obsession with buildings in every way possible without actually designing them. I have written about architecture for newspapers and magazines; my holidays are entirely predicated upon which Modernist buildings I will be able to see in any given country; and since co-founding The Modern House estate agency in 2004, I have sold hundreds of them too. The Modern House is something of an anomaly in the property industry. For a start, we don’t wear flammable suits. Most importantly, we focus not on a particular location but on the design quality of the properties themselves. The idea for our agency emerged after my business partner, Albert Hill, wrote an article for Wallpaper magazine about a realtor specialising in the sale of Mid-Century Modern housing in America. Having been initially sceptical about the scope of our modern architectural heritage this side of the Atlantic, we quickly discovered that there simply wasn’t a forum for it. Our database of houses and flats numbers several thousand, and grows with every architecturally proficient new-build. Among our most memorable sales is the Lost House in King’s Cross designed by David Adjaye, the interior of which is almost entirely painted black, including a subterranean lap pool where one imagines Batman practising his backstroke. There’s the Thirties studio of the painter Augustus John in Hampshire, which we sold to a prominent sculptor. There’s an early work by John Pawson and Claudio Silvestrin – a Chelsea apartment from the Eighties that’s like a perfectly preserved paint-bynumbers for the master minimalist. And there are any number of Eric Lyons-designed ‘Span’ houses from the Fifties and Sixties – modest, carefully detailed homes in little clusters on beautifully landscaped estates throughout southern England. I like to think that we have advanced the notion of a house as a collector’s item. If a Dutch still life or a tribal headdress has a provenance, then so too must a building. 25

Corpus #5

For many years I have been putting together a gazetteer of the buildings I have visited around the world, documenting them all alongside interesting places to stay and restaurants I have unearthed en-route. I can often be found lurking behind a hedge surreptitiously trying to photograph a particular house while the owner glares out of the window. Most recently, my preoccupation with Modernism took me to Los Angeles, where I visited Frank Gehry’s first house, as well as the Eames House, the Schindler House, a handful of Richard Neutra buildings and hundreds more designed by little-known architects. In San Francisco I was moved to tears by Pier Luigi Nervi’s Cathedral of St Mary, with its extraordinary latticework concrete ceiling punctuated by ribbons of stained glass. On a road trip through France last year, I managed to take in every Le Corbusier building between Paris and Marseille. My wife, Faye Toogood, is a game and glamorous co-conspirator. Travelling through Languedoc-Roussillon, we decided to scope out the artist Anselm Kiefer’s now-abandoned studio, a hauntingly beautiful derelict silk factory immortalised in the film Over Your Cities Grass Will Grow. But we couldn’t find it among the olive groves and rocky outcrops, and the lady in the Tourist Information office at Barjac declared our mission ‘Impossible!’, so we retired to a bistrot and ate some cheese. Even Modernists deserve an afternoon off sometimes.

Augustus John’s studio in Hampshire, designed by Christopher Nicholson in 1933 Sold by The Modern House in 2008

CULLINAN STUDIO

How big corporate can lead us to a more sustainable future by Wayne Hemingway For three decades now, I have been known as part of a design team that has been known as questioning, independent, and over the past decade or so, champions of social and sustainable thinking. Over the last few years, we have begun to work with large corporate organisations, not to feed turnover, but because it has become increasingly clear that, because of the scale and investment available, bold initiatives can be undertaken. The likes of Greenpeace and WWF (and the legions of small activists) have done wonderful jobs in hounding and naming and shaming corporations which have failed to take the environment, sustainability and ethical trading seriously. Their tireless campaigning has made a significant section of the public aware and helped to build a business environment where it makes business sense to “care”. Whatever the tipping point has been, my overwhelming experience is of corporates who now place sustainability, the environment and ethical thinking at their core. They have set up corporate responsibility departments and whole segments of the business who are dedicated to this thinking. They have employed directors who are zealous and “dedicated to the cause”, directors who have significant budgets at their disposal. They now have the economies of scale to really start to make a difference. The work we are doing with McDonalds (in collaboration with up-cycling and re-use specialists Worn Again) in terms of working out a system that allows the uniforms of their 88,000 UK staff to eventually be able to be made into new material to make new uniforms ad infinitum is bold, industry leading and takes considerable investment.

Corpus #6

The project we have with Coca Cola promoting their move towards plastic bottles that have significant PET content (in simple terms, plastic derived from sugar cane and molasses) is forward thinking, helps to reduce reliance on fossil fuels and, ultimately, makes financial sense . We learnt a decade ago, when we started working with (Taylor) Wimpey Homes that sustainable projects of scale that resonate far and wide are much easier to deliver by collaborating with those that have most to gain (and to lose) . So itâ&#x20AC;&#x2122;s time for people to stop raising their eyebrows and look surprised that designers like us are choosing to work with the kind of corporations that the campaigning bodies that we support once hounded. Big Corporations are not The Devil incarnate - they have an ability to lever their tremendous resources and some are now leading the way.

Uniforms for McDonalds by Wayne Hemingway Design

CULLINAN STUDIO

Tomorrow by Dr. Neil Hopkin In the UK school system of the 20th century, the prevalent factory model of learning was informed by managerial target setting and centralised prescription. The result was that children were the recipients of school leaders’ misguided but understandable attempts to meet KPIs which led to dry, joyless lessons designed to jump statistically through metaphorical hoops and over public relations hurdles. Smart school leaders soon learned that to avoid the punitive and public criticism of poor league table performance, they would need to lead their schools with a new focus, designed to deliver results that met the publishable requirements of their political overlords. Pretty soon schools were concentrating their efforts on getting students with Ds to become Cs, were abandoning Es, and neglecting Bs and As because they had already passed the required level. Even our youngest children in primary schools were being labeled and overlooked as adults declared around them, “They will never reach Level 4, just concentrate on those that might.” Booster classes proliferated to progress children newly described as “on the cusp”, whilst those who were more, or less able were left to run out the time until the test. It would be almost impossible to design a system that would be more efficiently ruthless in its ability to disengage learners, dismay and demotivate a generation of teachers or disempower a future workforce. It was a backward looking, short-sighted and short term approach. It was, and is, a disaster. Today, schools are able to make many more of their own decisions and as a result, some have begun to value other measures that were once ignored. Ingenuity, creativity, cognitive agility and adaptability are now supported through a creative and applied curriculum in learning spaces that are more akin to home than to a Victorian work house. Unsurprisingly, standards are rising and are replacing standardisation, whilst schools are empowering children to fulfill the ever changing needs of the 21st century workplace. Now, inspired school and community leaders are measuring schools’ impact through a much more intelligent and subtly nuanced set of metrics such as employment rates, reduced teenage pregnancies, parental engagement, applicants for vacant posts and stage-not-age based success.

Corpus #7

But what of tomorrow? As the current generation of parents look ruefully at the simpler world of their predecessors and live through the outworking of generational mismanagement of the world’s political, social and economic affairs, we all wonder, with a sense of guilt, about the legacy that we are leaving for the children in our schools. However, whilst it is right that we reflect upon our own shortcomings, our children are far more pragmatic about the task that lies ahead and, in those visionary schools where pupil voice is treated seriously, they are starting to seize the educational agenda. This new generation of interdependent learners are rejecting the bells, whistles and fixed schedules of mass instruction, are rejecting irrelevant, unapplied knowledge, are saying a resounding “no” to Dick Turpin style Stand-and-Deliver teaching, are questioning the logic of copying swathes of writing in class whilst being banned from ignorantly copying from the web at home and are refusing to be complicit in a model of learning that is “delivered” rather like milk once was. It seems as though, in a rather gentle and grass roots way, a learner’s revolution is sweeping aside that old factory model of learning, perpetrated by the political and adult society, to replace it with an approach to learning which is exciting, engaging, relevant and actually fit for its 21st century purpose. What a wonderful lesson in futures thinking our children are giving us. I hope we are all listening because, whatever our profession, we should all be in the business of learning.

Refurbished classroom at Rosendale Primary School

CULLINAN STUDIO

Problems with experts by Prof. Peter Landshoff As the world gets more complicated, we have increasing need of experts. But most of us are in awe of them and cannot check what they do, which is bad. Having worked with Cullinans on the design and construction of the Centre for Mathematical Sciences in Cambridge, I put what I had learnt to good use by running a forum for major clients of the construction industry. Its purpose was partly for them to share their woes, of which there were distressingly many, and partly to learn from the experience of others. A Formula 1 CEO told us how he had tried to inculcate into the team who was providing a large building to house a wind tunnel his industry’s principle that OK is not OK, and that he had achieved this by ruthlessly sacking a succession of under-performing managers. And one of the instigators of the Boston Big Dig told us that, at that time, it was already $10 bn over its initial budget of $6 bn, partly because, after each election, the politicians changed the specification (which we all know you should never do), but mainly because they had no idea how to control experts. Too often, we cannot understand what experts say to us. For a while, I worked on a data project with someone whose previous job had been as an army colonel. Every sentence contained a string of unintelligible acronyms. When I went to give a talk to the Major Projects Association I was told they had a solution to this: if I used one in my talk, they were trained to yell “acronym” at the top of their voices. Fortunately I was safe, as the only acronym I knew at the time was s106. I have learnt that experts are often narrow and insecure. When we had to decide how to cool some of the rooms in the Centre for Mathematical Sciences, I was somewhat terrified to go by myself to a meeting of experts. I soon realised that much of the time they could not understand each other, but they would not admit it. Towards the end of the meeting, the university’s maintenance manager came in and gave us a 5-minute harangue on why it was obvious that we should use VRV. VRV had been used in this project, VRV had these advantages, VRV was comparatively cheap, VRV did not cost much to run. When he had finished there was a long silence, until eventually I asked “What’s VRV?”. After he had left, the experts thanked me for asking that.

Corpus #8

My house was flooded ten years ago, and an expert advised that we should trim the bushes along a lane opposite so that water could run along it more freely. I asked whether that would make much difference. Three weeks later, when he was consulting in Azerbaijan, he emailed me to say how offended he was at my questioning his expertise. I managed to mollify him by saying that, as an academic, I am trained always to ask questions. Too often, experts cannot see the wide picture. There is an EU directive about increasing the fraction of biofuel we put into our petrol tanks, but apparently the energy experts in Brussels did not think what effect this would have on our food supplies. And I have not even mentioned the experts on banking and finance.

Centre for Mathematical Sciences, University of Cambridge

CULLINAN STUDIO

Collaboration by David Mullins The Oxford English Dictionary defines collaboration as: the action of working with someone to produce something. To our team at WMG1 it is far more than this. Collaboration is the essence of how we have been able to grow over 30 years into a large group making a major impact on countries and companies around the world. At its heart is the identification and delivery of mutual benefit, a cornerstone of the group which has enabled our collaborations to last so long and to be so effective. Our group is based in a university environment, but to us the knowledge that we create lacks meaning unless it is exploited by users in industry and society to enable economic growth and individual wellbeing. We cannot assume that knowledge will be exploited; it is our responsibility to put knowledge in the form that users can exploit easily and, through effective collaboration, to put in place the relationships required to enable exploitation. Our collaboration with Cullinans has been a mutually beneficial relationship sustained over 20 years and through three iconic buildings that they have created for us at the heart of the University of Warwick campus. The design of the buildings has been a key factor that has enabled the collaboration between academic staff and end users that we require and which is essential if the knowledge that we create is to add value, economically, environmentally and socially. We view everyone as a customer of WMG, seeking to ensure that what we provide addresses a need or an opportunity. Such a philosophy requires that the ability to collaborate, to have an empathy and understanding for the needs and requirements of others, takes central stage. This approach requires the ability to undergo near constant change as new opportunities present themselves. The buildings in which we operate have to be able to accommodate this change and to serve a rich community from undergraduate students, through researchers, innovative small companies that we host, through to staff of major companies that are co-located and collaborate with us.

Warwick Manufacturing Group

Corpus #9

The International Digital Laboratory designed by Cullinans is such an environment. Opened by the Prime Minister in 2008, we still receive a stream of visitors from governments, companies and universities that wish to replicate the user focused collaboration environment that we have created. Many of these visitors are international and WMGâ&#x20AC;&#x2122;s programmes are delivered around the world from China to India, from Malaysia to South Africa. At the heart of the programmes is the art of effective collaboration. It is an innate British skill, one that we hone through teaching, which differentiates us and provides a major facilitator for the growth and rebalancing of the economy that we are striving to achieve, for mutual benefit. As Cullinan Studio grows from strength to strength, we look forward to embarking with them on our latest collaboration, the creation of a unique Collaborative Research Centre to support companies in the resurgent automotive sector.

International Digital Laboratory, University of Warwick

CULLINAN STUDIO

Continuity by Prof. Richard Simmons According to Bertrand Russell, “order, unity, and continuity are human inventions, just as truly as catalogues and encyclopaedias”, whereas “change is scientific” and “indubitable”. Continuity in this interpretation is a device of the mind, an artefact we use to structure a world of chaos and mutability, the better to deal with it. If Russell is right, many have set great store by an unempirical construct. Continuity has been claimed as a cornerstone of Englishness, Conservatism, Common Law and, of course, Contextual, Traditional and Vernacular architectures. You can even take a BArch in Continuity in Architecture. So is our conception of continuity illusory? Just a comfort blanket developed to shield us from the harshness of an uncontrollably changing world? It all depends on scale, temporal and physical. Let’s begin at the molecular scale. DNA is very old. It must have emerged no later than 3.4 billion years ago, when the first cyanobacteria lived. DNA encapsulates both change - its mutations and permutations enable evolution and speciation, and continuity - the same intertwined double helix structure has served for millennia as the building block of genes. DNA’s dual nature is indubitably science, not artefact. Whilst immense diversity has evolved in response to changes in the living world, at the chromosomal level lies a continuity which links us inextricably with our ancestors, and with what is alive around us. This is all very well, but what about stuff we can see and touch? Let’s move up the scale but stick with (literal) building blocks. Timber construction began in the Neolithic era. Bricks were first laid around 8000 BCE; mortar was added around 7000 BCE (apparently leaving a millennium in between for some testing defects claims). Metal appeared in plumbing c. 2600 BCE. It was used for windows from the Middle Ages and structurally from the eighteenth century. Concrete dates from the third century BCE. You get the point. Styles and uses change; materials persist. Seen over this expanse of time, at the scale of building blocks we see massive continuity. There is, though, evolution too. Timber is machined. Fired bricks replace sun-baked. Concrete is reinforced. Steel succeeds iron. There is duality. Continuity and change are intertwined. Both modalities are science. 35

Corpus #10

As one would expect, though, Russell wasnâ&#x20AC;&#x2122;t all wrong. When the blocks are assembled into buildings, science recedes and artefacts appear. Continuity is urged as a justification for archaic forms to prevail over those created for our own age. Catalogues of styles and orders are prayed in aid. Encyclopaedic knowledge of antique geometries is conjured to condemn the contemporary. There is much to admire in the best of Neo-Classical, Neo-Gothic and Neo-Vernacular. Much that is modern deserves its critics: but we do need to recognise that continuity as artefact can get in the way of our ability uniquely to express our contemporary culture. Is there, then, an architecture which reconciles the duality at the heart of our nature: the desire for stability with the need to advance? Cullinanâ&#x20AC;&#x2122;s Gridshell at the Downland Open Air Museum, Sussex, is a standard bearer for such an architecture: an inspirational example of how the DNA of ancient building blocks can be woven (literally) into something new but redolent with continuity. Our oldest building material, wood, carpentered with rigorous science into a structure that speaks of our time, yet sits easily alongside the venerable timber-framed buildings whose conservation it serves. We need more buildings like this, embracing both continuity and change. That embrace is, after all, how we came to be human, with minds that evolved to order chaos and build the extraordinary, the lasting and the beautiful.

Workshop at the Downland Gridshell

CANAL

8th August 2011

Canal

CULLINAN STUDIO

8th August 2012 41

Canal

CULLINAN STUDIO

Canal

CULLINAN STUDIO

Canal

CULLINAN STUDIO

CONVERSATION

CULLINAN STUDIO

Woodville, W., Hooker, W.J., Spratt, G., Medical Botany, 3th edition, vol. 4: t. 225 (1832)ea) 49

Conversation

The Leaf In the early 1800s, Britain was enjoying 9 million cups of Chinese tea annually. It had become a important commodity for the efficient functioning of the empire; like todayâ&#x20AC;&#x2122;s energy supply, a stable source was vital for economic stability. In 1788, the esteemed botanist Sir Joseph Banks noticed tea plants growing wild in the slopes of Nepal. This observation spurred a search by traders for an Indian variant of tea. In 1823, Major Robert Bruce witnessed the people of the Assam region drinking a tea from a local plant. Samples were sent to the East India Company for identification but they refused to release the results, likely to protect their Chinese trade route. It took a further 11 years before the plant was officially recognised as camellia sinensis var. assamica (Assam tea) . Kew Gardens has collected an array of publicly accessible tea samples over the last 200 years. These are stored in ideal preservation conditions within our recently designed Herbarium .

CULLINAN STUDIO

Conversation

The Brew During the height of the Blitz, thousands of Britons were forced out of their homes each night. The Empire Tea bureau was struck by the inferior standard of the tea being served in shelters. In 1941, they released the public information film “tea making tips” in which a stern tea instructor warned the population of drinking dirge tea in an urgent clipped voice....... “Tea is not a manufactured article which can be made, bottled up, and served at will. It must be prepared every time it is required and its success or failure depends entirely upon the attention you pay to the six golden rules.”

1. Always use a good quality tea. 2. Always use freshly drawn water. 3. Remember to warm the teapot. 4. Measure the right quantity of tea for the water in the pot. 5. The water must reach boiling point, pot to the kettle, not kettle to the pot. 6. Let the tea brew for 5 to 10 minutes before serving.

Only then tea will revive you!

‘Tea making tips’ is stored in our recently completed master film store for the British Film Institute. All stills are BFI copyright and used under licence.

CULLINAN STUDIO

Text and images to be “Tea?!... placed, as you wish, within these margins (or full-bleed image)

Dashed line is just for guidance - please delete.

...we’d need a set of jump leads to get him started!” 53

Conversation

“there’s something quite suspicious about people bringing you piles of cake”

CULLINAN STUDIO

Text and images to be placed, as you wish, within these margins (or full-bleed image)

Dashed line is just for guidance - please delete. “No sugar for me” -“He’s on a Brixton!”

Conversation

“three sweeteners, milk in first - am only having two today because it’s only half a cup”

CULLINAN STUDIO

“You’can’t beat PG tips, nothing fancy, just PG Tips...

Text and images to be placed, as you wish, within these margins (or full-bleed image)

Dashed line is just for guidance - please delete. ...though we do call him ‘Earl Grey’

Conversation

“you say ‘mugg’ we say ‘maaag’!”

CULLINAN STUDIO

COMPRENDE

CULLINAN STUDIO

Comprende

Outpost “Voir. Refaire. Comprende.” The doctrine of a French tutor that I once knew.“ Look. Refer. Understand.” The only way to make good architecture, he said. He missed out “Listen.” “S’par-hear. Shak barak. Que falaq? Tamam. Inta que falaq? Quais, hamdulah….” Protracted greetings, pleasantries, coffees and invitations. You can’t do this from an office: you have to get out there. Out there is far more fun but takes longer. Patience. The project gestates on the road. Heathrow. Tripoli (approach over air disaster wreckage). Visa problems again. One car to the next. Benghazi airport. One home to the next. This driver has already eaten (he doesn’t know we haven’t). Don’t make a fuss (spare flapjack – thought this might happen). Sunset site visit then an extra, unscheduled meeting. PowerPoint and take-away food in our partner’s office and another protracted debate about appropriate plot sizes. Early start again. Speak for a bit. Wait while the main man takes another call (it’s him we need to convince). Breakthroughs are when an opponent of an idea turns champion of the same idea and the debate breaks down into Arabic again. Another ally for our work of many authors.

CULLINAN STUDIO

Comprende

CULLINAN STUDIO

CLAN

Alice Milo Julian Bicknell

1975

Deborah Strother

JasperVaughan

Julian Bicknell

Susan Ford

Philip Tabor

Mariette Smith

Giles Oliver

Alex Freemantle

Amanda Ros Cullinan Wendy Potts Garrett

Giles Oliver

Margaret McCafferty

2010

Aoife Keigher

Emma McCracken

Lucy Brittain

Emma McCracken

David Storring

2005

Mark Thompson

Prerna Karla

Alex Whitton

Natalie Paul Agneiszka Knera

Chris Johnson

Supriya Mankad

Lucy Priest

Alison Gwynne

Sophie Noble

Michael Kohn

Wen Quek

Aoife Keigher

2000

Dennis Ho

Jordan Winters

David Cawston Nita Sharma

Helen Evans

Raquel Ardao

Tom Dollard

Mark Tugman

Chris Crofts

Sophia Jones

JavierValladares

Simon Feneley

Peter Tso

Geraldine Reilly Gordon Shrigley

Jeremy Gay

Kasia Bouslawska

Steve Johnson

Parul Kate Rewal Pendleton

Joo Han Baek

Carol Costello

Parul Rewal

Sasha Bhavan

Richard Gooden

Gaye Patel

Elizabeth Devas

Peter Kirkham Steve Johnson Bert Stern

Ian Goss

1995

Louise Potter

Tom Fitzsimmons

Catherine Peake

Mark Macek Brian Oâ&#x20AC;&#x2122;Brien Carol Costello

Jilly Watson

1990

Danvers

Rebecca Hobbs

Wen Quek

Simon Knox

Laura Marr Steven Western

Akay Hal Zorlu Ingberg

Roddy Langmuir Sean Harrington

Tony Belcher

1985

Mungo Smith Lyn

1980

Diana Timbrell

Julia Mortimer

Peter Inglis

Megha Chand

Tom Robinson

Taylor Huggins

Mayfield

Megha Chand

Allan Collins

Ted Fowler

Tom Wells

Joseph Eleanor Bedford John Tom Wells Proctor

Robin Nicholson Hetty Startup

Angela Newman

Mark Beedle Peter Inglis Anthony Peake Alec Gilles

Mark Beedle

1970

Julyan Wickham

Ian Pickering

1965

CULLINAN STUDIO

1965

Charlie Wickham

David Dennis

Carlos Elesser

Julio

Elizabeth Shapiro

Anne BrandonJones Julia Semler Wilson Jones

Carl Falck

Keith Dobson

Victoria Manser

1970

Mike Kozdon

1975

Peter St. John

1985

Niall Gault

Ed McCann

Tim Francis

Sam Penn

Tom Dawson Richard White

Sam Ainsley

Valerie Keiper-Knorr

Ben Hopkins Jessica

Rosaleen Crushell

Dan Rigamonti

Sarah Oâ&#x20AC;&#x2122;Regan Joey Wegrzyn

Amy Glover

Gareth Mantle

Clare Stevenson

Clodagh Latimer

James Roach

Bruno Paolucci

Tom Brooksbank

NickTurzynski

Jonathan Hale

Annuka Pietella

James Foster

Axel

Ben Chamberlain

1990

Anne Dormer BrandonJones

Steve Myers

Boyanna Jerome Partington Elks

John Caddell

1995

Ray Mwanahiba

Monika Kowalczyk

Ogi Karuga TingTing Dong Aoife Ristic Considine Koinange Lorna Harper Frances William Kate Ruth Legget Madders Young Thomas Mima Chris Jonathan Marfleet Kearns Oâ&#x20AC;&#x2122;Connor

Sam Speed

2000

Helen Attridge

Scott Jenkins

Cherry Harris

2005

McDowell

2010

Emma McDowell

Philip Graham Emma

Jo Nuttall

Ivana Bocina

Lara Michael TristanWigfall

Joanna Pencakowski

James Riseboro

Chris Whitman

Joanna Pencakowski

Andrew Abdulezer

Sarah Bickford

Kristina Roszynski

Brendan Sexton

Alex Abbey

Dinah Bornat

Karen Caddell

John Caddell

Bailey

Sahiba Chadha

Kevin Goh

Jess Taylor

Emily Henningsen

Catherine Greig

Michael McGrath

Sarah Jefferson

Annalie Riches Peter Tim Bradley Couper

Rachel Calladine

John Romer

Joe Navin

Dinah Bornat

Mary-Lou Arscott

Barry Stanton

Liz Adams

Gregory Penoyre

Andrea Sinclair

Cecily Horrocks Jan Birksted

Matthew Letts

David Linford

Anna Philip Joynt Naylor

Miriam Fitzpatrick

Jeremy Stacey

Tom Cullinan Dennis Dominic Dominic Pieperz Cullinan Cullinan Richard Owers

Sunand Prasad

1980

Gerald Adler

Miriam Fitzpatrick

Frances Hollis

Peter Bernamont

Tom Brooksbank

David Leggett

Daniel Kerr Rhys Mortimer

Johnny Winter

Louise Michael Haslam Deepak Clayton Janet Raiani Marriner

Peter Bernamont

Angus Noresh Brown das Gupta Kay Atalanta Hughes Beaumont

Alan Short

John Money-Kyrle

Brendan Woods

Peter McGough

Ron Smith

Tchaik Chassay

Glenn Shriver Frans Nicholas

Clan

CULLINAN STUDIO

lettuce Staffordshire England lucy brittain South Yorkshire England mariama ceesay Gambia mint Berkshire England monika kowalczyk Poland mustard green Kings Cross London England nicole van den eijnde Global Generation Canada onions England oranges Spain parsley Surrey England pawel kowalczyk Poland peter inglis Lanarkshire Scotland philip graham Edinburgh Scotland potatoes England radishes Suffolk England raquel ardao Spain robin Nicholson Hertfordshire England roddy langmuir Derbyshire England rocket Kings Cross London England sarah oâ&#x20AC;&#x2122;regan London England smoked mackerel North Sea sorrel Wood Green London England scott jenkins Edinburgh Scotland tap water London England tim francis Yorkshire England toyosi adebonojo Global Generation England wen quek Seremban Malaysia william young Cambridgeshire England

Office Friday Lunch 08.06.2012

carrots radishes

smoked mackerel tortilla orange salad green salads

gooseberry fool English cheeses chocolate

CULINARY

England London allan collins England London alex abbey England Worcestershire amy glover England London Islington bread Ireland Cork brendan sexton England butter England London Kings Cross calendula flowers USA Nebraska carol costello England London Kings Cross carrots England South Yorkshire cherry harris England Lancashire Gloucestershire cheeses England London Kings Cross chives Guatamala chocolate England Somerset claire herniman England Surrey colin rice England London edward cullinan England London Highbury Freightliners Farm eggs Northern Ireland Belfast emma mcdowell England Hertfordshire gooseberries England Warwickshire helen evans England London john romer England Durham johnny winter England Generation Global kara weekes England Bedfordshire kevin goh Germany Foundation Development Sustainable kirsten priebe England London kristina roszynski Zambia Kitwe lara michael Spain lemons

Culinary

CONTINUERS

CULLINAN STUDIO

‘CONTINUERS OF HISTORY’ The web of history runs through our work. Where has it come from? Where is it taking us? With roots in both classical and arts and crafts traditions it appeals to the head, the heart and the hand. This is a snapshot of some of those threads.

o St

neh

enge: th e

Philip Webb, ‘father of Arts and Crafts architecture’, built the Red House for William Morris in 1856 and stayed a loyal friend. ‘Architecture to Webb was first of all a common tradition of honest building’ Lethaby 1915

p ur

geom

landscape

...

etry

sol

ar temple

Ted’s ‘Architecture is the celebration of the necessary’ brilliantly paraphrases Pugin words of 1841: ‘There are two great rules: first, that there should be no features about a building which are not necessary for convenience, construction, or propriety; second, that all ornament should consist of enrichment of the essential construction of the building’

‘Beauty comes from the correspondence of the whole to the parts, of the parts to each other and the parts to the whole’ Palladio, Villa Capra 1570

Continuers

The Arts and Crafts movement reinterpreted building in a strongly regional way whether in England, Scotland or the USA. Hill House by Mackintosh 1902

Romanesque capitals and interlocking arches at Durham Cathedral

A different kind of order: Hawksmoor’s brooding silhouettes, tactile spaces, vigorous forms. St Anne’s Church Limehouse 1730

Le Corbusier’s villa that shares its parti with Palladio’s Villa Foscari 300 years earlier Villa Stien at Garches 1927

CULLINAN STUDIO

Greene and Greene’s Gamble House 1908: construction celebrated till it glows

Frank Lloyd Wright combined Arts and Crafts sensibility with Post-Cubist spatial composition, working ‘in the nature of materials’ and breaking the box to let space flow from inside to outside under broad sheltering roofs - supremely at the Robi House 1908

The ground plan of Lubetkin’s 1935 Highpoint: revolutionary, rational, poetic

In the Villa Sayoye, 1929, Le Corbusier made the ‘promenade architectural’ the organising idea 75

Continuers

Wright, First Jacobs house 1936 Rooted to the hearth, yet sharing the horizon, all for $5,000

Our futur

el ie

Although indebted to Wright, Schindlerâ&#x20AC;&#x2122;s 1921 house in Hollywood is rawer and celebrates living close to nature

in ew a rc hite an ct

the

s un . . . Lasdunâ&#x20AC;&#x2122;s 1961 Royal College of Physicians

The line of succession: Ted worked for Lasdun who worked for Lubetkin - like Le Corbusier a generation earlier worked for Auguste Perret, whose roots in turn went back to the structural rationalism of Viollet le Duc

CREED

CULLINAN STUDIO

CREED In attempting to achieve a concise vision statement for the practice, I’m aware that the ‘10 things that make us tick’ shown here can seem so summarised that they lose part of their meaning, or even sound a little pompous! But I think they are useful in creating a sort of canopy over our every-day endeavours - a reminder of the journey we are making and the continuity that is enshrined in the values of our organisation. What is it that binds our practice together

Creed

beyond the particular qualities and eccentricities of the individuals? What is the constant that remains as one architect leaves and another joins? Perhaps it just helps to keep reminding ourselves that a creative process founded on shared values will always win the day over form and fashion. This particular canopy follows the beams of the roof structure of the John Hope Gateway in Edinburghâ&#x20AC;&#x2122;s Botanic Garden.

CULLINAN STUDIO

CYCLE

CULLINAN STUDIO

Cycle

Tree planting

CULLINAN STUDIO

at Gib Tor

Cycle

CULLINAN STUDIO

CONSTRUCTION

CULLINAN STUDIO

Construction

CULLINAN STUDIO

Construction

CULLINAN STUDIO

Construction

CULLINAN STUDIO

Construction

COMMUNITY

CULLINAN STUDIO

101

Community

â&#x20AC;&#x2DC;do we still got life in us?... ...yeah manâ&#x20AC;&#x2122;

102

CULLINAN STUDIO

‘So what do you think of this building?’

103

‘it’ alright’

Community

Time of your life Our Stonebridge Hillside Hub design in west London which was completed on site in 2009 was designed to pivot around a cafe space which would have tied the community functions of the mixed use hub building together No tenant has yet been found for this space but, once a year, the Stonebridge Older Persons Forum, one of the many local community groups which meets in the hub, appropriates the cafe space for their â&#x20AC;&#x2DC;Time of your lifeâ&#x20AC;&#x2122; day which enables the local community to gather together for speeches, dinner, dancing and talking. This year we were welcomed as guests of the forum along with the Mayor of Brent and local councillors, and were honoured to share in their day.

community hall

health centre cafe space

104

CULLINAN STUDIO

105

Community

â&#x20AC;&#x2DC;I have one request to make... ...that you invite me next year

106

CULLINAN STUDIO

107

CALVERTS

CULLINAN STUDIO

This is a printing office Crossroads of civilisation • Refuge of all the arts against the ravages of time • Armoury of fearless truth against whispering rumour • incessant trumpet of trade • From this place words may fly abroad not to perish on waves of sound, not to vary with the writer’s hand but fixed in time, having been verified by proof

Friend, you stand on sacred ground, This is a Printing Office

Beatrice Warde Typeset by calverts.coop

109

Calverts

WET PROOF Proof made on press using plates, ink and paper specified for the job

110

CULLINAN STUDIO

111

Calverts

112

CULLINAN STUDIO

113

Calverts

Founded in 1977, Calverts is a common ownership worker co-operative specialising in high quality print for the arts, design industries and commerce. Our watchwords are collaboration and sustainability. The images on the preceding pages illustrate the wet proofing process used in the printing of this Anthology.

Thanks to Edward Cullinan Architects for the opportunity to showcase our work.

www.print.coop 114

CHOREOGRAPHIES

CULLINAN STUDIO

‘the arrangement or manipulation of actions leading up to an event’

117

Choreographies

118

CULLINAN STUDIO

119

Choreographies

120

CULLINAN STUDIO

121

Choreographies

122

CULLINAN STUDIO

123

Choreographies

124

CULLINAN STUDIO

125

Choreographies

Baldwin Terrace 2011 Bobby Lloyd, Artist A photographic response to the internal re-workings of art space to work space

126

CULLINAN STUDIO

127

CODA

CULLINAN STUDIO

Moving Our practice has a great portfolio of completed projects; yet some key projects won through competition disappeared along the way for a variety of reasons â&#x20AC;&#x201C; architecture is so rewarding but hard! We have weathered four major recessions - 1970, 1980, 1990 and 2008 - and each time the practice has adjusted its focus. This one is no different. In 1991, we moved from Camden Town to Islington and started working on a sequence of projects at Cambridge University, quickly followed by others at the Universities of Warwick, Gloucestershire and Charlotte, North Carolina. Since then, university design has been one key part of our portfolio both in the UK and abroad, alongside urban regeneration, housing and a range of cultural projects. Now we are moving next door to the Foundry and changing our name to CULLINAN STUDIO to reflect our wider interests. Our work is changing to include both larger masterplans abroad and smaller community diagnostics, coupled with a growing interest in retrofitting our existing building stock, especially our education buildings - universities, FE colleges and schools. While there are clearly big opportunities in luxury apartments for foreign investors and slick city office buildings funded by our pensions, what we really need is 350,000 homes a year, spacious enough and designed well enough to be sustainable long term, and another more radical rethink about the workplace in the light of e-mobility, the circular economy and popular dissatisfaction with many peopleâ&#x20AC;&#x2122;s self-interest.

129

Coda

Back in 1991, we won the limited competition for an International Conference Centre for BP outside Newbury only to see their shares fall through the floor closely followed by the Chairman and then the project that would have carried us through. This time in 2009, we were asked to design a carbon neutral garden city for 60,000 in Eastern Libya only for the Revolution to stop it just as it was about to go on site. Our Libyan partners are quietly confident that this will start up again as there is a serious housing shortage in that region. Despite this long period of national peace and notwithstanding our participation in other people’s conflicts, we live in troubled times and yet we are the world’s eighth richest nation. Our privilege as architects is to be able to use our talents wisely for the greater good. Our team is highly motivated and experienced; as a cooperative, we share knowledge and work for one another to produce really useful and enjoyable buildings. Our buildings seek to lift the spirit and promote interaction in the search for a more sustainable future for us all. “Today, when the market and the free play of private interests so obviously don’t come together to collective advantage, we need to know when to intervene…As citizens of a free society we have a duty to look critically at our world. But if we think we know what is wrong, we must act upon that knowledge.” - Tony Judd 2010 as quoted by Stephen Hill to be published 2012/13.

130

CULLINAN STUDIO

131

Credits Acknowledgements Cullinan Studio thanks all who are or have been part of Cullinan Studio and Edward Cullinan Architects over the past 47 years, in particular those participants who have helped to create this anthology. Cullinan Studio also thanks our wider circle of friends who have contributed to this anthology. This CULLINAN STUDIO anthology is published by Cullinan Studio in the United Nations International Year of Co-operatives and London 2012 Olympics. Copyright ÂŠ Cullinan Studio Address Cullinan Studio The Foundry 5 Baldwin terrace London N1 7RU www.cullinanstudio.com info@cullinanstudio.com Tel: 0207 704 1975 Design Cullinan Studio Editorial Team Allan Collins, Amy Glover, Cherry Harris, Wen Quek

Typography Gotham Print Calverts Co-operative 9-10 The Oval, London E2 9DT 020 7739 1474 www.print.coop Paper Cyclus Offset Symbol Freelife Gloss All papers are: - 100% recyclable - Elemental Chlorine Free (ECF) - PH Neutral - Long Life - Heavy Metal Absence CE94/62 All inks are: - Vegetable oil-based - Biodegradable Dust jacket Imitlin Further information on the anthology can be enjoyed on our blog: cullinananthology.blogspot.co.uk

132

CULLINAN STUDIO Compositions and Creators

COVER

CONTOURS Amy Glover created the end papers using the Japanese marbling technique of suminagashi. COME HITHER Johnny Winter photographed our street-side entrance on 10 October 2012. CHROMATIC Allan Collins devised the colour progression to mark each composition. CAST Emma McDowell and Tim Francis rediscovered a structural relic. CORPUS Robin Nicholson brought together the contributions below: #1: Knowledge - Irena Bauman is a founding member of Bauman Lyons Architects and Professor of Sustainable Urbanism at the University of Sheffield. #2: Celebrating Cullinan - Peter Buchanan is a London-based architecture writer and lecturer. Photo: Richard Learoyd. #3: Place and Nature - Sue Clifford is a founder director of Common Ground (www.commonground.org.uk) and has been at the forefront of cultural campaigning in the environmental movement and raising environmental awareness in the arts. Photos courtesy of the author. #4: Joy - David F. Ford is Professor of Divinity in the University of Cambridge and Director of the Cambridge Interfaith Programme. Photo courtesy of The Cardozo Kindersley Workshop. #5: A Journal (This article was first published in The World of Interiors) - Matt Gibberd is co-founder and director of The Modern House, the UK’s foremost estate agency for architect-designed properties, and he writes on architecture for The World of Interiors, The Sunday Telegraph, Acne Paper and GQ Style. Photo courtesy of the author.

133

#6: How big corporate can lead us to a more sustainable future Wayne Hemingway is co-founder of HemingwayDesign and Vintage by Hemingway. Photo taken from HemingwayDesign website. #7: Tomorrow - Neil Hopkin is the Executive Headteacher of Rosendale Primary School and Christ Church CE Primary School, West Dulwich and Brixton with Rosendale, Liz Atkinson and Cherry Tree Children’s Centres. Photo © Paul Raftery. #8: Problems with experts - Prof. Peter Landshoff works for the CambridgeMIT Institute and is a former Professor of Mathematical Physics at Cambridge University - he was part of the client team for the University’s Centre for Mathematical Sciences project. #9: Collaboration - David Mullins is Warwick Manufacturing Group’s Director of Administration (Academic), working to implement the Group research, education and knowledge transfer strategy and to facilitiate the evolution of the group. #10: Continuity - Prof. Richard Simmonds is a visiting professor of City Design and Regeneration, School of Architecture, University of Greenwich. Photo: Simon Feneley. CANAL Lucy Brittain sighted a rainbow over the City during the riots in 2011. John Romer and Nick Shurey snapped shots of life and light on the canal a year later. Alex Abbey was struck by the beauty of cast-iron coal hole covers in the local pavements. He was intrigued that they announce a space below, now obsolescent in function, and mused whether some might have been cast in our old/new foundry building. CONVERSATION Cherry Harris, Scott Jenkins and Brendan Sexton enjoyed a morning cuppa with client/contractor Jerram Falkus’s Site Agent, Ben Rayner, and subcontractors in the site hut over Baldwin Terrace, 29 June 2012 Thanks to Brian Robinson (British Film Institute) and Odile Weber (Royal Botanic Gardens Kew) for their help with images. Page 47 - photo © Tim Soar.

Credits COMPRENDE Philip Graham was posted to Libya as part of the collaborative team with Sami Jaouda and the Libyan Engineering Office (LEO) for the design of Shahat Garden City, and Ramboll UK on the sustainable development strategy for the Green Mountain Region. CLAN Peter Inglis graphically represented people past and present in the practice. CULINARY Raquel Ardao, Helen Evans, Wen Quek and Will Young organised an office Friday lunch tableau. We thank photographer Pawel Kowalczyk for his time and patience. Also present were Kirsten from the Sustainable Development Foundation and Nicole, Kara and Toyosi from Global Generation. CONTINUERS Colin Rice sketched out our architectural lineage. CREED Roddy Langmuir drew out the creed that makes us tick. #1: Purpose Our studio exists to design buildings and places using the highest standards of creativity and skill. #2: Humanity People are at the centre of our design process, and our thinking at every level. #3: Design We will seek solutions that respond to context, climate and local culture. #4: Collaboration We will listen and respond to all those we work with, aware that good design arises from great teamwork. #5: Making Our buildings will find expression from the process of their construction. #6: Part of a Whole We welcome the challenge to make socially, environmentally and economically durable buildings and places.

#7: Structure We work with a cooperative structure as the foundation of excellent business practice. #8: Innovation Opportunities for innovation and research are vital to the continuing success of our practice. #9: Nuture We will develop our skills and share our knowledge, disseminating this through teaching and lecturing. #10: Development We will follow the work available, adapting ourselves to prepare for the ever-shifting opportunities ahead. CYCLE Ted Cullinan set out the elliipse for tree-planting at Gib Tor in the Pennines. Will Young provided the images from 17-18 March 2012 session at which he planted about 250 trees with Alex Abbey, Raquel Ardao, Cherry Harris, Carol Costello, Scott Jenkins, Kristina Roszynski and their family and friends. CONSTRUCTION Allan Collins constructed a solid in seven stages in sequences of 1, 2, 4, 8, 18, 32 and 64 lines on the X and Y axis of a grid. COMMUNITY Cherry Harris, Scott Jenkins and Brendan Sexton celebrated with the Stonebridge Older Persons Forum at their annual ‘Time of your life’ event at Stonebridge Hillside Hub on 30 June 2012. Photo top left and middle right on page 103 © Simon Feneley. CALVERTS Calverts assisted us with the artwork and printing of this anthology. CHOREOGRAPHIES Bobby Lloyd speculated on the purpose of physical marks and actions observed on site during the re-construction of 5 Baldwin Terrace. CODA Robin Nicholson reflected on our evolution as a practice and creative studio.

134