Gentle Landmarks marks barfield architects — recent projects
Foreword by Stephen Bayley
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Introduction
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Spiral Café Birmingham
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Brighton i 360 Brighton
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Chaotianmen Square Chongqing
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Jeddah Airport Development Jeddah
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Think Tank Innovation Centre Lincoln
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Liverpool One Costa Coffee Liverpool
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Kew Treetop Walkway London
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Tate Pier
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The Michael Tippett School
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White Horse Bridge
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Abbey Wood Interchange
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ITCC Riyadh
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UK Pavilion Shanghai
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Villa Hush Hush Virtual
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Landmark Wales Wales
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The Lightbox Woking
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The Studio
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Credits
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Introduction
This book, Gentle Landmarks, marks the 20th anniversary of the formation of Marks Barfield Architects. It also celebrates the 10th anniversary of the creation of the London Eye, without doubt our most extraordinary, yet gentle landmark. The projects that follow comprise a selection of our design work from the past decade. For us, design is a powerful tool for good, both social and environmental. At its best it improves the quality of people’s lives and lifts their spirits, while drawing, ideally, on a minimum of the earth’s limited resources. We are frequently told that the practice is difficult to categorise, as each project is so different from the last. We relish this reaction to our work. Each client, each site, each brief is unique. It would therefore be surprising, in our view, if each project was not distinct. Every project is the product of an approach that strives to stay free of preconceptions, open to possibility and change, yet informed by analysis, understanding and experience. Our designs, therefore, often lead to unexpected solutions. The design process starts with our clients’ needs and aspirations, and with a response to each individual site and its context. It is an approach that combines logic with beauty. We see ourselves first and foremost as problem solvers, not necessarily thinking consciously
Previous page: 10 October 1999 and the British Airways London Eye begins to rise above the rooftops of the surrounding city.
Nothing ventured, nothing gained — right from the start we have always believed in putting forward the boldest of our ideas, whether with the ‘Bridge of the Future’ competition (above), which we won in 1989, or the self-generated World Sea Centre (left) which, though not built, helped us when we decided to push forward with our ideas for the London Eye.
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Taking inspiration from dinosaurs’ vertebrae, our design for the ‘Bridge of the Future’ relied on tensioned cables, or tendons, to provide rigidity, allowing the bridge to cantilever from one side only.
about beauty, only how to solve the problem at hand. However, if the outcome is not beautiful, then we know something is wrong. Inspiration is drawn from mathematical truths, geometry and nature, combined with an enthusiasm for engineering, technology and innovation — the art of the possible. It was just such a fusion of influences that first brought Marks Barfield to public attention as winners of a competition organised by New Civil Engineer magazine that called for a ‘Bridge of the Future’. Our design for an asymmetrical bridge, based on the vertebrae of dinosaurs, continued the concept of engineering following nature as exemplified in the great — and greatly loved — bridges and structures of the past by the likes of Decimus Burton, Joseph Paxton and Isambard Kingdom Brunel. Another early project inspired by these great engineering traditions was the proposed World Sea Centre in the Bay of Toulon, featuring the Aquasphere, a dramatic underwater aquarium in the Mediterranean Sea. A commitment to social issues also manifested itself early on, with designs for self-build housing and community centres for a squatter settlement in Lima, Peru, and with the Merseyside Watersports Centre, built in the water of Liverpool’s Queen’s Dock to provide water-based activities for disadvantaged inner-city children. Our self-initiated Skyhouse project — designed in response both to climate change predictions and the critical lack of affordable housing in London — also demonstrated an early focus on environmental and social issues, with its innovative integration of renewable energy generation, communal facilities and a broad social mix, all brought together in high density, high-rise residential towers. 9
Spiral Café Sited between God and Mammon, between Birmingham’s new temple to consumerism, the Bullring Shopping Centre, and the recently renovated St Martin’s Church, lies the small but perfectly formed, shell-like structure that is the Spiral Café. The client Birmingham Alliance’s brief had called for the creation of a landmark structure that would animate and enliven the terraced St Martin’s Square in which it sits, but one that would also generate an income. It needed to be rugged and suitable for use in all weathers, yet have a high degree of transparency. Our competition-winning design, only 60 square metres in size, is large enough to allow shoppers to sit inside comfortably and enjoy the view, but small enough to be viewed as a piece of sculpture in its own right. Desiring a building that would stand independently of its surroundings, we took our inspiration from the Fibonacci sequence, a simple mathematical formula first identified by Leonardo Fibonacci in the thirteenth century. Starting by adding one plus one, each subsequent number is calculated by adding together the two previous numbers in the sequence, creating an infinite run that begins 1 1 2 3 5 8 13. Related to the Golden Section, the sequence has been found to have an almost mystical relationship with natural patterns of growth, from the shapes of sea-shells and pine cones to the geometry of complex fractals in galaxies. Illustrated graphically, the sequence generates a graceful spiral, and the café’s form was derived by sweeping this ‘golden spiral’ along a tilting axis to create a simple
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Inspiration for the building was drawn from the Fibonacci sequence and the graceful spiral it generates in graphic form (2). Frequently found in patterns of growth in nature, including pine cones (4) and the nautilus shell (5), the latter led to a general interest in the nature of shells (1, 3) which is reflected in the finished building by its smooth interior finish and the pearllike lights hanging over the bar (6).
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Gentle Landmarks 18
BIRMINGHAM
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“It is common for regeneration projects to be enlivened by artworks and sculpture. The new café may not have been commissioned as an art work, but it certainly gives the same pleasure.” Susan Dawson, Architects’ Journal, 10 February 2005
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Designed in collaboration with structural engineer Tim Lucas of Price & Myers, the building is formed around eight near identical curved ribs, offset one from the other but all cantilevered from a level base. A set of blueprints was prepared to show the erection sequence of these ribs (1, 2), which were then clad on site with copper sheets (3) specially post-patinated to replicate a shell’s barnacle encrusted surface (4). Services are concealed in a small extension at the rear of the building, with panes of glass completing the enclosure (5).
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Aerodynamically shaped to shed wind loads, the 18-metre diameter passenger pod (1) is made up of two parts: a lightweight steel-framed base, above which is fitted a double-glazed superstructure. This is connected to the tower via a four-point support, with cables that loop back to a counterweight concealed inside the spire. With a total height of 180 metres, half the length of the original pier (3), the i360 will become the UK’s tallest viewing platform, easily eclipsing its nearest rivals (2).
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The i 360 will be sited (4) at the ‘root’ end of the old West Pier, emerging at promenade level from a new purposebuilt pavilion housing the back-ofhouse facilities, as well as a café and gift shop that will look out over the beach. At promenade level, the original ticket office will be refurbished and its missing partner rebuilt.
of 150 metres above sea level, taking around 10 minutes to reach the top. It will then travel back down the spire, slowly, steadily and comfortably. Like with the London Eye, damping technology will keep the ride stable and smooth. Visitors will return to the ground with changed perceptions and a new perspective on Brighton and Hove. Like the London Eye, the i360 is being funded privately, through a mixture of private equity and bank financing. It will be built on land leased from the West Pier Trust, thus raising funds for this worthy cause, and it is anticipated that it will attract up to one million visitors annually, creating new jobs, boosting revenue from tourism and acting as a catalyst for regeneration and development in the area. Energy efficiency has been maximised and emissions limited, and it is expected that some 20 per cent of the power required to run i360 will be generated by wind turbines on top of the spire. Sustainable tourism will help Brighton & Hove to maintain its competitive edge without environmental degradation. Tourists are increasingly interested in the landscape, history and culture of an area, and responsible tourism will only help to sustain and develop an area’s cultural heritage. But sustainable tourism is not just about preserving old cultures; it can also create new ones. The Brighton i360 will help to promote such tourism in a totally responsible and sustainable way, maintaining Brighton & Hove’s historic identity while meeting the expectations of a modern, high quality attraction.
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“English Heritage welcomes a project which will provide an outstanding feature on the seafront and a worthy companion to any successor to the West Pier. It would achieve an outcome not unlike the original promenade pier by allowing viewing of the whole Brighton seafront, not from seaward but from above.�
Richard Morrice, EH Inspector of Historic Buildings, September 2006
A vertical pier in the sky, the Brighton i 360 (1) is set to become a major new landmark in the city, on terms with the Brighton Pavilion and visible from miles around (2, 3). Fabricated in steel, 80mm thick at the base stepping internally to 20mm thick at its top, the 3.9-metre diameter spire has been designed to be as slender as possible and, indeed, achieves a remarkable height to width ratio of just 40 to 1. Sophisticated damping systems inside the tower, similar to those on the London Eye, will ensure any sense of lateral movement will be all but eliminated. 2
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Simple geometric rules determined the size and position of the towers. Measuring 40 metres square and standing 80 metres from their neighbours, the towers were seen as occupying the realm of man between the spheres of earth and heaven (1), the tops of the towers scalloped as if to support the latter. The 56-storey height of the towers, meanwhile, was related to the podium’s height above sea level (2). Completing the composition, a ‘sliding’ bridge was proposed between the front pair of towers (3), rising (4) to allow visitors unparalleled views down the Yangtze in one direction and back over the city in the other (5). 3
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The southern end of the scheme is completed by a major new football stadium (4), for which a number of architectural and structural options were explored (2, 3). This, in turn, forms the start of a new sports park, around which other sports academies and smaller stadiums can be arranged (1). For ease of communication, an elevated monorail loops around the entire scheme and provides a direct link to the airport.
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lavatories, and nine workshops arranged solely along the north facade. This adopted a saw-tooth profile in plan so that each workshop, as well as the office above, could benefit from full-height glazing facing true north, maximising daylight while avoiding solar gain. As well as the central courtyard and generous reception area, other shared spaces have been dotted throughout the building, including a social area next to a small outdoor terrace on the first floor, where tenants can get together and exchange ideas. Sustainability was a key concern and the building, which relies solely on natural ventilation, is fitted with a closed loop, ground source heat pump capable of providing 70 per cent of the building’s heating and cooling needs. Fixed timber louvres protect the west and south facades from solar gain and the biodiverse roof has been planted to resemble a Lincolnshire meadow. Photovoltaic cells and solar panels provide extra energy and hot water, with the solar panels placed directly over the lavatories to minimise pipe runs. Used for the first time in the UK, the building is clad on two sides with iridescent Rockwool panels that change colour depending on the incidence of light. Just as some flowers use iridescence to attract pollinating bees, so it is hoped an iridescent building will attract innovative businesses and new talent. Completed in just 14 months the building has, since its opening in June 2009, already secured two East Midland RIBA Awards for achievement and sustainability.
Situated next to the university’s new Brayford Pool campus, the site could hardly be more convenient, with both the city centre and main station just a short walk away (1).
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“There’s a lot of room to have a chat with your fellow tenants and spark off ideas.” Harriet Ennis, ANGLE Technology, December 2009 3
As with all our projects, the building was carefully analysed with particular reference to its sustainability credentials (4), leading to the adoption of a deep, highly insulating sedum roof and a sophisticated ground source heat pump system with 20 boreholes — each 100 metres deep — that feed through a closed loop in the concrete floors to help cool the building in summer and warm it in winter. Driven by a desire to promote social interaction in and around the building, we proposed a triangular plan around an open courtyard (2, 3), allowing the different areas of the building to be located where they are best suited.
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The first-floor office windows on the south elevation, already coated to reduce solar gain, were given added protection from the sun by the horizontal louvres (3). Relatively dark when seen under overcast skies, in bright sunlight the colour shifts in the cladding become positively vibrant, constantly changing as the sun moves across the sky. Again, the colours are picked up inside, here with the seating for the reception area (1), which also features a desk from the Spaceoasis range designed by the practice (2).
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Liverpool One Costa Coffee Our brief from Grosvenor Estates was to design a distinctive facade for a new coffee shop located at the entrance to Liverpool One, the company’s flagship retail regeneration project in the heart of Liverpool. They wanted something bold and colourful, a powerful visual statement bridging art and architecture that would act as a gateway to the new development, while also forming a distinctive landmark on this major pedestrian crossroads in Liverpool’s city centre. The design response had to engage with its context, yet become a powerful, albeit small, beacon of the city’s new vibrancy. A variety of facade strategies and materials were put forward and explored in an intense series of meetings with the client and other various stakeholders, through which it soon became clear that a simple ‘veil’ of brightly coloured, vertical aluminium tubes was the preferred solution. These would provide necessary sunshading, in particular to the upper floor, while still allowing views out and, more importantly, allowing relatively easy access to the windows for cleaning purposes. Precedents for the use of colourful stripes in art and design abound, from the paintings of Bridget Riley to the designs by Paul Smith, but it was clearly important to come up with a distinctive palette of colours. In a football obsessed city, too much Liverpool red or Everton blue was probably best avoided, so instead we proposed combining them. Referencing Kandinsky’s link between colour and music, the background in shades of purple provides the rhythm, while the tune is provided by other brighter colours.
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The accumulative nature of the colour wheel (2) is endlessly fascinating, as is the rainbow array of neatly arranged coloured crayons (1) or the more arbitrary colour combinations found in a handful of drinking straws (5) or the designs of Paul Smith (4). In coming up with a suitable response for Liverpool One, we took inspiration from the CMYK colour wheel used in printing, the blue of Everton (3) combining with the red of Liverpool F.C. (6) to create background shades of purple, to which other colours shown in the wheel could be added (7).
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in this context, the only limitation being that the material was only available in flat sheets. This, however, was quickly turned to our advantage, when we decided to fabricate the pylons as long tapering triangles that would split, or trifurcate, near the top to form three triangular ‘branches’ to support each platform. We decided to build the platforms and bridges in the same material, but wanted to give them a more organic form. We turned for inspiration to the Fibonacci sequence and found that if it was used to determine the distance between intermediate support points in a truss, it closely matched the forces to be resisted. Using the bridge balustrades as trusses, it was possible to design these symmetrically around the midpoint, considerably simplifying the fabrication process. Another major challenge was to strike a balance between enabling visitors to get as close as possible to the trees, while minimising damage to their complex root systems. This was resolved using radar surveys of each pylon location, which enabled us to strategically position the concrete piles between major roots. A bespoke pile cap — in lattice steel to allow water to penetrate to the roots below — was then designed to allow each pylon to be accurately positioned. To save time and minimise disruption and on-site welding, the entire structure was prefabricated off-site by W S Britland & Co Ltd. The walkway opened in May 2008 as part of the celebrations for Kew’s ‘Year of the Tree’ and has proved a considerable success, with over 600,000 visitors in the first year alone. It has also won numerous awards, including an RIBA Award, the Structural Steel Design Award and the Civic Trust Award, all in 2009.
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The triangular form adopted for the pylons (7) was chosen as weathering steel is only available in sheet form. However, this allowed the pylons to taper and naturally divide into three ‘branches’ near the top to support the walkway ‘nodes’ (1). The positioning of the pylons proved to be the biggest challenge, as a way had to be found to sink the 12-metre-deep concrete piles without damaging major roots, most of which lie close to the surface (2). Exploratory trenches (3) and ground radar were used, and bespoke steel pile caps fitted (5), on to which the pylons were then lifted (4).
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Every part of the walkway, from the treetop bridges (8) and pylons (9) to the underground Rhizotron (10), was designed using proprietary 3D software that allowed the architect, engineer and contractor to communicate without any misunderstandings. The system really came into its own when designing the bridges and nodes (6), as the same information could be used to produce the fabrication drawings. 6
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“This dramatic new treetop walkway … at London’s Kew Gardens brings nature vividly and vertiginously to life.” Catherine Slessor, Architectural Review, November 2008
Sited in a section of woodland made up primarily of sweet chestnuts, oaks and lime trees — some of which may have been planted during the changes implemented by Capability Brown in the 1770s — the Treetop Walkway offers a rich variety of views, almost enclosed by the green canopy in some areas (1) and opening out in others to offer views over the Palm House towards the skyline of London beyond, with the Wembley Stadium arch clearly visible on a good day. A steady stream of visitors has made its way up the access stairs since the walkway opened (2), with over 600,000 visiting in the first year alone.
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The ethos of the school is to help its pupils to prepare themselves for the world they will encounter outside, rather than to protect them, and the school was keen to retain the strong links with the local community they had enjoyed in their previous premises. The building was therefore designed to engage with its surroundings, creating a welcoming presence on Heron Road that reflects its personality and ethos. The school was completed on time and on budget and, more importantly from our point of view, it has been well received by all concerned — the teachers, the parents and, most importantly, the children. As one parent noted to the press at the school’s opening in February 2008, “the building screams out, ‘Come and join us’.”
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“We did it together. The input that students and staff had throughout the design and construction process has helped our children understand the transition to a different site. We have all been amazed by how quickly they have settled into their new surroundings and how excited they are by the new facilities on offer.”
Jan Stogdon, Headteacher, Michael Tippett School, 2008
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A considerable amount of energy was expended ensuring the school’s layout, both internally and on the site, was as compact yet comfortable as possible, with the school arranged in single- and two-storey sections that respond to the residential street on one side and a more industrial area on the other (2). Issues of sustainability were analysed with similar thoroughness (3), leading to a simple layout of classrooms, accessed via a central corridor, with high ceilings (4) that enhance natural light and ventilation (1). The school has a ‘very good’ BREEAM rating.
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“The classrooms are beautiful spaces, with high ceilings and light flooding in from both sides. They are roomy places where anything can happen. … Marks Barfield has shown us that, given the opportunity, they can reinvent an old idea with such panache that it rockets into the twenty-first century.” Dominic Cullinan, Architecture Today, April 2008
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The school’s straightforward glulam timber beam and column structure, combined with concrete floors and exposed soffits, allowed construction of the whole building to be completed in just nine months. On both sides of the building, the structure extends out beyond the facade (3), creating a colonnade — complete with built-in retractable awnings — that encourages learning activities on the ground floor to extend out into the garden (1). The first-floor (2) is reserved for the sixth form and special teaching activities, and on both floors the internal walls are separated from the structure to improve future flexibility.
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Our proposal was based around eight small pavilions arranged roughly in a square, larger pavilions at the corners, separated by smaller ones in-between (5). Each ‘tree’ pavilion spreads out quickly as it rises, twisting in the process to accommodate a variety of exhibition spaces (4). Access is via a spiral staircase and lift concealed in the ‘trunk’ (6) or external escalators, with bridges linking all the pavilions to create a single flowing exhibition space. The pavilions are naturally ventilated, using a variety of passive systems to cope with Shanghai’s highly variable climate (1, 2, 3). Also accessible, the rooftops would have been landscaped in the style of historic British gardens.
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Raised above ground to minimise the physical impact on the local environment, and finished in high-quality materials such as brushed stainless steel and mirrored glass that allow it to blend into a reflection of its surroundings (1), the building could be built almost anywhere, urban or rural, with its rising section only appearing occasionally above the roof- or treetops (2, 3).
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proportions of the human body that remains an iconic image to this day. Leonardo referred to the human form as “the model of the world” and, while we would not allude to quite such a bold statement, it is hoped that with their uplifted, forward-looking faces the figures — coloured red in deference to the myth of Merlin’s vision of a great battle, with the red dragon of Wales victorious — will be imbued with a certain optimism and grace, an open and hopeful demeanour as they fly towards a bold future. As the figures are intended to represent all the people of Wales — men, women and children alike — we are now looking into the possibility of giving each figure its own identity, a unique face not unlike the terracotta warriors of China. Integral to this concept, our aim is to involve the children of Wales by inviting schools to create a face of their choice, be it from their imagination, a family member, or a local or national hero. A plaque placed at the base of the poles will name the school that chose each particular face, forming a unique picture of the whole country.
The site lies to the south of the M4 less than a mile from the west end of the Severn Bridge (1) and enjoys unobstructed views out over a Site of Special Scientific Interest towards the Severn Estuary. With local access available via nearby public rights of way or an adjacent secondary road, the site will be open to the public, allowing visitors to walk among the poles of this new gateway to Wales as the 300 figures swoop overhead.
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The idea of red figures soaring over the landscape had been clear from the outset, but how that might be achieved — how they would be held up, what form they would take — went through a number of options (4) before the final form took shape, evolving into a sinuous stream of figures (3), all heading in the same westerly direction for a distance of 100 metres or so.
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“A simple, but subtle design, it is architecture as an intelligent response to a site and architecture as the clever management of light and space.” Stephen Bayley, The Observer, September 2007
sense to protect the galleries from the highway with a solid wall, this was no easy task. Our solution was to turn the entire facade into a work of art in its own right. Seeking inspiration from Byzantine gold mosaics and snakeskins, we developed a cladding of overlapping anodised panels in five shades moving from silver to gold. To disguise the wall’s slab-like form, these spiral up around the side of the building, with the darkest gold panels zigzagging horizontally across the centre of the wall, gradually changing to silver panels at the top and bottom. A window lined with dichroic glass strips runs along the bottom of the wall, extending upwards at the centre of the building to create a twostorey high ‘keyhole’ window suggesting wonderful things within. True to the town’s green values, the Lightbox is linked to Woking’s energysaving combined heat and power (CHP) system, with the entire building apart from the main galleries naturally ventilated. Cool air is drawn in at low level on the canal side and exits via all-weather grills in the rooflight over the main staircase. To reduce solar gain, the rooflight is itself shaded by a bank of photovoltaic cells, all helping to reduce the building’s energy requirements. Completed on time for a contract value of just £4.1 million, the Lightbox has gone on to receive numerous awards for both design and sustainability since its opening in September 2007, including the coveted UK Art Fund Prize in 2008.
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The Lightbox is no ivory tower, some dusty temple to high culture, but instead a vibrant centre open to allcomers. The highlights of a privately loaned collection — including significant pieces by Elisabeth Frink, Eduardo Paolozzi and Jacob Epstein — are on show and the main gallery receives travelling exhibitions, but you might just as easily come across a community group display in the canal garden (1), performances in the foyer as part of the Woking Dance Festival (3, 5), or just local residents calling by to meet up (2, 4) and use the café.
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The decision to use five shades of panel for the wall overlooking the highway, changing from gold to silver, was made early on, but what pattern they might form took a lot longer to decide and went through many variations, including this one (6) inspired by snakeskins.
As the exploded isometric sketch demonstrates (11), the basic layout of the building is quite straightforward: a simple box located at the wider east end of the site, tapering on the canal side towards the small entrance garden to the west, where the site is narrowest (8, 10). Internally, a single continuous staircase rises on the south side of the building (7), linking the cafĂŠ and back of house facilities on the ground floor to the gallery spaces on the floors above, with all the views from inside the building directed towards the canal (8, 9).
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In contrast to the silver to gold panels that line the public side of the building, the more private areas overlooking the canal to the north (1) and the small canal-side garden to the west are clad in western red cedar that will fade from gold to silver grey with time. ‘Hit and miss’ slots at the top and bottom of the canal facade aid the building’s natural ventilation. With landscaping by Edward Hutchison and protected from the road by tall gabion walls, the garden acts as a quiet interlude between the noise of the city and the bustle of the galleries, a place where visitors can sit out and relax in the afternoon sun (3). The entrance facade is set well back and blinkered from the road by a deep projecting wall, though a similar wall on the canal side angles back (2), opening up the views in that direction for those looking from inside.
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Architecture is a curious discipline. In an age of increasing specialisation, of snappy sound bites and instant labels, it is one profession where a wide-ranging and measured approach is still valued. And no more so than in the work of Marks Barfield Architects. Best known for its involvement in the London Eye — as both designers and its driving force — the practice is often misperceived as being overly interested in engineering and technology, but nothing could be further from the truth. As Stephen Bayley notes in his foreword, “every successive MBA project is a surprise”. If the London Eye is about engineering and technology, it is because it needed to be, to ensure its 37 million visitors to date a reliable, safe and comfortable ride. And the knowledge to achieve that goal was hard earned, involving a steep learning curve into the world of dynamic engineering and damping technologies, of large-scale construction and big business. But then, that same dedication is applied to every project they are involved in. Whether it be a school for children with severe disabilities, a new treetop walkway for the Royal Botanic Gardens at Kew or a community-driven art gallery for a provincial town, the true guiding force behind their work is always a complete understanding of their clients’ needs and the context of the site. As they say themselves, “each client, each site, each brief is unique. It would therefore be surprising, in our view, if each project was not distinct”. This book offers an overview of the many distinctive projects Marks Barfield Architects have worked on in the 10 years since the completion of the London Eye — each designed without preconception, a unique and gentle landmark that feels no need to shout its presence, but always makes it mark.