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Old January 3rd, 2011, 08:03 PM   #2081
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I'm not sure if this project has been posted here before, but it's Westminster Place by Delancey, and will replace concrete horror of York House. The site is adjacent to the new Park Plaza hotels at the southern end of Westminster Bridge. The architect is Sheppard Robson. It appears to be under construction.


London’s Southbank to get crystalline landmark

http://www.worldarchitecturenews.com...pload_id=10110

London’s Southbank will feature a new landmark building following the approval of a planning application to redevelop York House. The 18 storey crystalline office block, designed by Sheppard Robson, commissioned by Delancey and situated on the River Thames, will be highly visible from Parliament Square and Westminster Bridge.

The new design was initiated after a four-year planning period for the original, smaller design which, by the time planning was granted, had become obsolete. Project architect, David Ardill, explained why a redesign was necessary: “We came in after four years of planning. The original design had become dated with the outside made with articulated blocks. Because of the design it was only really useful as a single-occupancy block…Our design was needed to help improve the landmark status of the site.”

And they have responded to this brief by creating a bold but beautiful glazed-design which reflects light in an array of colours due to the formation of layered glass. “What makes the building special is the double skin and layering of the glass which works with the materials to reflect and diffuse light throughout and from the building,” said Ardill. A ‘dragonfly wing’ effect is created by the layering which was designed to dissolve the edges of the glass so as to use it as a feature. The outer skin is a deformed grid that pulls against diagonal fins to create a series of small pyramids contributing to the jewel concept. This gives crystalline reflections and animates the façade as the sun moves around it. Dichroic glass fins add changing colour to the building façade throughout the day.

The glazing acts as a response to that which is central to the building’s location: the view. Delancey wanted to make the most out of the riverside views out to parliament. This was accommodated by a 10,000 sq ft roof terrace and full length glazing to the front of the building. Issues of temperature control and heat loss then came into play encouraging the inclusion of a layered glass frontage which in turn will offer an ‘environmental buffer’ between the inside and outside and collect heat for energy.

Sustainability is key to the design which is currently set to receive an excellent BREEAM, the British environmental standard, rating. It is hoped that the building will be able to work in conjunction with the residential development Founders House to deliver heating to the properties collected from Westminster Place.

Sheppard Robson’s developments will spread much further than the individual plot of York House where derelict offices now stand. The project also involves a £2.5 million spend on landscaping for the surrounding area and the curve of the design will work together with nearby Westminster Park Plaza's facade mimicking each other to create a symmetrical passage between the two buildings and into the landscaped and pedestrianised area connecting Westminster Place with Delancey-owned Beckett House beyond.

A further notable design feature of the 345,000 sq ft building is the central atrium reaching from floor to ceiling through 17 floors providing an internal spectacle which will bring light to all sides of the office space.

Ardill said: “We are delighted to receive planning consent and the opportunity to bring a landmark building to the skyline of London’s iconic Southbank. Sheppard Robson recognised the importance of a design that sits comfortably in the context of its surroundings, yet has the charisma and visual presence to justify its development in such a prominent area of Central London.”











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Old January 5th, 2011, 12:52 AM   #2082
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The interior is specially astonishing. So much high tech.
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Old January 5th, 2011, 01:09 AM   #2083
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I walk by this area every day, what they are not showing you is the context properly. If you are at ground level you get a better sense of the 360 and this building does nothing to improve the feel for anyone who isn't in a car.
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Old January 5th, 2011, 06:31 PM   #2084
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Angel Court, a midrise tower in The City, is set for a redevelopment. This recent picture by Chest shows how the tower currently looks. It is the brown building in front of Heron Tower.



Here is an elevation of the new design from Skyscraper News:



If the cladding is of a high quality, this could really benefit the skyline.
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Old January 6th, 2011, 04:19 PM   #2085
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They did an excellent job on the Stock Exchange Tower, let's hope this goes the same way.
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Old January 6th, 2011, 07:05 PM   #2086
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this design looks taller it will be over 100m i think
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Old January 8th, 2011, 04:13 PM   #2087
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The supersize skyline: Why 2011 will be the year architecture takes a giant leap upwards

From London's 'Cucumber' skyscraper to Norman Foster's space station in the New Mexico desert, buildings dazzling in size and ambition are set to transform the global landscape in 2011.

Brute bigness will be a defining feature of architecture in 2011. The way large buildings occupy space, and even the way architecture will become the threshold to outer space (thanks to Norman Foster and Richard Branson) has put supersizing firmly on the menu.


Last year, the hot news was that the vilified ex-banker Fred "the Shred" Goodwin was going to turn the Edinburgh-based practice RMJM into a Godzilla of world architecture. But now we learn that the equally hard to pronounce Aecom has acquired more than 30 practices and, with a jumbo-pack of 1,488 architects, has become the biggest practice in the world, after a mere 20 years in the business.

In London, bigness looms in the form of buildings such as Robin Partington's so-called Cucumber, a 459ft residential tower destined for the shiny architectural hodge-podge known as Paddington Basin. The Cucumber has just been submitted for planning approval and its uniquely peculiar form surely makes it a foregone conclusion in a part of the city where gaudy architectural chunks seem de rigeur as far as Westminster's planners are concerned.

...

In Britain, we will witness the final act in the transformation of London's most hideously mangled railway station, King's Cross; the extension of the Holburne Museum of Art in Bath; and the rolling-out of major Olympic projects. But more on those subjects in a moment. First, back to bigness.

Two buildings – one within days of opening, the other being considered by City of London planners as you read this – epitomise the controversial thud of supersized buildings on to our cityscapes.

Exhibit A: the £250m One Hyde Park residences in London's Knightsbridge, designed by Rogers Stirk Harbour and with four glazed "blades" of apartments linked by semi-transparent circulation cores. At 65,000 square metres this is a major, precedent-setting urban object. Clearly, the practice has tried to give the building a sense of articulation, rhythm and material refinement, but it is the sheer scale and manner of the building, in its Victorian-Edwardian context, that make it so debatable. The Prince of Wales, having machinated to block Rogers Stirk Harbour's scheme for Chelsea Barracks, held back from putting the royal boot in this time.

Exhibit B: an even bigger "groundscraper" in the City of London, at Broadgate, designed by Ken Shuttleworth and his practice, Make. This £340m scheme, for the Swiss financial giant UBS and with a "footprint" the size of a football pitch, could receive planning permission this year. Shuttleworth's inspiration for his massive metal-sheathed structure is an engine block. As in, engine of finance. The building gleams as if coated in platinum. Is the UBS building too big for the City, or is it simply the unstoppable, low-slung shape of leviathans to come in a world where the masters of the universe usually get what they want?

The City's planning supremo, Peter Rees, is broadly in favour of the Make design, which suggests that the building will be given approval. Rees is an urbane, shrewd and confidently provocative character, a trained architect who understands the commercial value of star practitioners. His vision is that the City must be an organism of physical change and versatility, if it is to retain pole position in the ephemeral and image-driven world of international finance.

Under Rees's guidance, the City has become a metaphor for eternal renewal in which buildings, like the fulminating money markets, are in dynamic, come-hither flux. His support of One New Change, 100 metres east of St Paul's Cathedral – Jean Nouvel described his building as a "stealth bomber" – was daring; so too was his approval of Rem Koolhaas's almost finished building for Rothschilds, which is, literally, hard up against St Stephen's Walbrook, Christopher Wren's most exquisitely beautiful small church.

The City has thus become marked with the equivalent of Just Do It architectural brandmarks, spikes on a skyline that will soon dole out more towering visual infarctions: the 20 Fenchurch Street Walkie-Talkie building, designed by Rafael Viñoly; Renzo Piano's so-called Shard, looming above London Bridge station; the Pinnacle tower designed by Kohn Pedersen Fox and known as the Helter Skelter; and the Heron Tower, which has failed dismally in its primary task, of triggering a fatuous nickname. Only one of these forthcoming giants promises to offer any sense of formal gravitas – Rogers Stirk Harbour's Leadenhall tower, the so-called Cheesegrater.

The grandeur of architectural bigness is strangely paradoxical. "We know by instinct," wrote the novelist WG Sebald, in Austerlitz, "that outsize buildings cast the shadow of their own destruction before them, and are designed from the first with an eye to their later existence as ruins." In the City, new kinds of architectural bigness are creating a beauty pageant of towers and groundscrapers in an urban cabinet of curiosities which may ultimately lobotomise our interest in the effects, good and bad, of change.

Even so, Sebald's "shadow of destruction" can never be universal. Nor will size be everything in 2011. Indeed, in Britain, 2011 could become the year a certain Chippo bigs it up in a very different way – "Chippo" being the nickname of the architect who is considered by many to be the most significant of all in terms of anti-bling architecture.

David Chipperfield, a Royal Academician and the latest RIBA gold medallist, was forced to forge his world-class reputation in Europe, because he was once considered "not one of us" by the Caligulas of the British establishment. His new and suddenly very solid presence here will rattle those architects who have been picking up the most valuable British commissions. Estimable and highly successful practices such as Allies and Morrison and Allford Hall Monaghan Morris are hot tickets in commercial architecture but they must now operate in the glare of Chipperfield's vastly weightier international reputation for designing buildings that subtly recast the relationships between historical precedent and 21st-century urbanism.

Two important British buildings by David Chipperfield Architects will open in weeks and they will re-set the bar in terms of major cultural projects in this country. The irony is that Turner Contemporary in Margate and The Hepworth Wakefield may also become rather tragic architectural terminal moraines in a cultural landscape glaciated by government cuts.

The Hepworth is not graceful: the brusque compaction of its irregular concrete segments has created a strangely provocative grey mass, hunkered on the dreary headland of the Calder river. The building might almost be a supersized Cubist sculpture, a last hurrah as the cultural ice sheet creeps across the land.

Turner Contemporary is more straightforward, with an orderly massing and articulation that conveys its "cultural" purpose. The only question mark concerns its ability to spark significant regeneration in the centre of Margate. The museum will no doubt have a shop and a comfortable restaurant. But will the chatterati hasten eastwards, beyond Wheelers Oyster Bar in Whitstable, and strike out to Margate, only to spend two or three hours in Turner Contemporary before leaving? Will they take time to stroll around the Dickensian Old Town?

Chipperfield's competition in cultural projects (if there are any) will come from long-established practices such as Dixon Jones Architects, which has delivered blue-chip projects at the Royal Opera House and the National Portrait Gallery. Its latest makeover, for the Crown Estate, at the Regents Palace Hotel in Piccadilly, will be completed in 2011. Dixon Jones has a sense of history and restraint, though it can seem bloodlessly refined.

There are other practices bristling with more provocative intellectual and cultural voltage – Eric Parry Architects and Caruso St John, most obviously; and among the new wave, Lynch Architects, Maccreanor Lavington and Dow Jones. The last named has shown considerable skill and civility in the way it has developed projects at Christ Church Spitalfields and the Garden Museum in London. A shortlisting for the Cast Courts at the V&A Museum was no surprise.

But wait! Chippo gives good "commercial" too! In Europe, his reputation was partly made through big, brilliantly executed commercial projects and he is designing two mixed-use buildings in London, one at Waterloo, the other in the massive King's Cross Central development. Chipperfield is likely to be shortlisted automatically for most big commercial projects in historically sensitive parts of London. And this means that practices competing with him will have to think of something better than glitzy facades or brightly coloured architectural doodads. Such a cynical, Lego-cum-Crayola approach to architecture is turning swathes of our towns and cities into gormless urban romper rooms.

Meanwhile, the minister for tourism and heritage at the Department of Culture Media Olympics and Sport, John Penrose, has added architecture to his department's remit. After Penrose's appointment, his spokesperson said that the quality of Britain's built environment was crucial to "our tourism offer to the world". A most terrible mistake has been made. What Whitehall really needs is a Department of Eat Shop Tweet Leave.

Thank heavens we can look forward to John McAslan + Partners and Arup's completion of the £300m modernisation of King's Cross, towards the end of the year. This great station has become a grim shambles of shameful, cheapjack alterations but the wave-form canopy of the new western concourse will be the most striking piece of British railway architecture since the marvellously crafted articulations of Sir Nicholas Grimshaw's Eurostar concourse at Waterloo in the 1990s.

A few miles further east, on the 2012 Olympics site, one suspects that less will be more. Zaha Hadid's grandly flaring "manta ray" aquatics stadium will become the image on the most popular Olympic stamp but it may well be gracefully upstaged by the super-svelte velodrome designed by Hopkins and Partners.

In Bath, Eric Parry's extension of the Holburne Museum is likely to be a gem – one that was nearly derailed by a local lobby of nimbys who seemed to want to see the museum close rather than evolve into the 21st century. Parry has produced a new segment, facing the Sydney Pleasure Gardens, and its novel lattice-form facades will certainly infuriate the fusty few. Fortunately, they will also charm the many who understand what history has always proved: that places and buildings cannot always move forward in predictable ways.

That ideal of innovative change is hard-wired into Baron Foster of Thames Bank (and Switzerland) – but in a very different way. Two projects due for completion in 2011 illustrate his new design explorations: the Queen Alia International Airport in Amman, Jordan and Spaceport America in New Mexico. Both buildings point to more organic form-making – the former in terms of its almost Art Nouveau canopies, the latter in the way the building hunkers into the desert landscape.

In a 21st-century architectural zeitgeist of controversial bigness, Spaceport America, built for Richard Branson, is almost beyond criticism. It is an Ur object in an Ur setting for an Ur purpose– roughly equivalent to the legendary ziggurat that was built in the Sumerian city of Ur, 21 centuries before Christ. The spaceport project, close to the 16th-century Camino Real trail that was created by the Spanish explorer Herná* Cortés, also marks a crucial point in Foster's career.

It is no secret that his earliest inspiration was Buckminster Fuller, the inventor of the geodesic dome and the concept of "spaceship earth". Bucky, as he was known, once asked Foster how much one of his buildings weighed. Now we have a spaceport that is about leaving spaceship earth and entering conditions of physical and existential weightlessness.

How weirdly apt it is that Foster + Partners has also been working with the European Space Agency to see if it is possible to use moon dust in what is, in effect, a large ink-jet printer, programmed to spit out lunar structures made of moon-dust cement – as if they were being printed in lines of structural text, composed of tiny, viscous pellets.

No, you didn't read that wrongly. Just picture it: Norman Foster, boyhood devotee of Dan Dare comics, gazing out of the cockpit of a Virgin Galactic spacecraft as it slips the surly bonds of earth. A static-stippled voice is relayed from 110km up: "This is Major Norman to ground control..."

In 2150, when Major Norman is no longer with us, the Minister of Eat Shop Tweet Leave might well look down from the same cockpit. And he will surely feel a thrill of cultural pride to know that all over Britain, huddled masses of tourists will be gawping at yet more towers and groundscrapers by even the most unimaginative and commercially ruthless architects, the monstrous printers' cement-jets going ptt-ptt-ptt as the structures, slowly and remorselessly, take form.
http://www.independent.co.uk/arts-en...s-2177728.html
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Old January 8th, 2011, 04:24 PM   #2088
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Some comments on that article

"This is all about wrecking our once-beautiful world and accompanying the process with PR avalanches telling us how great these buildings are."

"Wouldn't it be nice if we spent as much time and effort on designing and building decent attractive affordable and social housing?

"Instead of the `boxes' they build at the moment with tiny windows and a mass produced sameness?"

Oh some people :L
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Old January 9th, 2011, 03:01 AM   #2089
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Generally find independent/guardian wet leftist NIMBYS who'll oppose anything (HS2 comes to mind) and as a whole up thier own arses so thier opinions are generally irrelevant.
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Old January 11th, 2011, 07:27 PM   #2090
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Opposition (and NIMBYs) comes from both sides of the political spectrum (and there are at least a equal number of conservatives against HS2). For those on the left the reasons are normally to do with the relationship between the corporate, Big Business world (esp. financial institutions) and development of skyscrapers. Here is the fear of a bland, yuppified world which removes local people and imports suits.

For the right (mostly conservatives with a small 'c' and spear-headed by Charles and EH), it is the fear that tradition and history are being eroded. There is also for some the view that tall buildings, coming largely from the US and Asia, are a foreign concept crushing Britain's golden period.

Basically, most people in the UK and Europe as a whole belongs in some form to one of these two macro groups. Pro-tower individuals are pretty much a small minority sadly (the UK's disastrous embracing of cheap concrete tower blocks erected in the 60s and 70s probably hasn't helped either). The irony is that many skyscrapers (e.g. the Shard) are replacing bulky post-war horrors, freeing up, and thus providing, public space and offering cash to develop local improvements (e.g. tube stations).
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Old January 12th, 2011, 08:20 PM   #2091
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Quote:
Four Seasons moves ahead with London property

Plans for a third Four Seasons hotel in London took a step forward today, with the granting of planning permission for the forthcoming Heron Plaza.

Property tycoon Gerald Ronson secured permission to build the new tower, which will also incorporate a major residential and retail development in the City of London. The 43-storey development is the second and concluding phase of works started with Ronson’s Heron Tower, which is just months from completion.

Four Seasons will open a hotel in the development, containing 190 hotel suites and 120 Four Seasons-branded residences, as well as restaurants, conference and banqueting facilities, a gym, spa and swimming pool. Heron Plaza and accompanying Heron Tower will be located just 150 metres from Liverpool Street station, which will benefit from Crossrail connections from 2017.

That development will link London Heathrow Airport to Liverpool Street and Canary Wharf.

Four Seasons already operates hotels in Mayfair and Canary Wharf, with the Park Lane property reopening later this month. The Heron Plaza tower will have an external screen which will be constructed from a patinated natural copper alloy whose material tone and warmth will provide contrast and balance to the stainless steel of Heron Tower.

The cost of the project will be in excess of £500 million.
http://www.breakingtravelnews.com/ne...ndon-property/
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Old January 13th, 2011, 12:14 AM   #2092
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Originally Posted by REAPER666 94 View Post
Some comments on that article

"This is all about wrecking our once-beautiful world and accompanying the process with PR avalanches telling us how great these buildings are."

"Wouldn't it be nice if we spent as much time and effort on designing and building decent attractive affordable and social housing?

"Instead of the `boxes' they build at the moment with tiny windows and a mass produced sameness?"

Oh some people :L

Goood
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Old January 17th, 2011, 09:42 PM   #2093
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London architecture practice to expand office space

Allies & Morrison will add 1,200 sq m to its existing office space in London by renovating a warehouse building next door.

Graham Morrison, co-founder of the architecture and urban planning practice, told Building Design the office expansion is just one of "12 to 15" projects the firm is currently involved with in the capital. It plans to extend its space by redeveloping the warehouse located adjacent to its 2,000 sq m headquarters on Southwark Street.

"We first moved into our offices here about eight years ago and even then we were almost too big for the space," Mr Morrison explained. He added that Allies & Morrison managed to escape the worst effects of the economic downturn and the firm has not "shrunk as much" as some of its contemporaries.

Once the office enlargement is complete, the practice will proceed with plans for the redevelopment of the Isis building near London Bridge into a residential tower. Allies & Morrison was named architect of the year in the 2007 Building Design Awards and opened an office in Doha, Qatar in 2009.
http://www.freeofficesearch.co.uk/Of...ar=January2011
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Old January 18th, 2011, 05:23 PM   #2094
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can someone tell me the name of the city or district that was this photo taken from?

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Old January 18th, 2011, 07:30 PM   #2095
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Work has resumed at the 122 Leadenhall and 20 Fenchurch Street sites. The Groundbreaking ceremony for 20 Fenchurch Street was yesterday I think that's 9 buildings over 100m under construction at the moment, which is good for London.

Drawings of 20 Fenchurch Street I hadn't seen before:

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just to remind people of the floor plans (if they have not seen them yet)

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ground floor
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The chances of the 150m Baltimore Wharf scheme near Canary Wharf starting construction also increased last week:



Quote:
Ballymore's £400m lifelines

...Ballymore is close to agreeing a restructuring and debt-for-equity swap with the holders of £265m of debt secured against its huge mixed-use Baltimore Wharf scheme, on the site of the former London Arena in London’s Docklands.

Accounts filed last week at Companies House show that senior lender the Royal Bank of Scotland, which has lent £196m against the scheme, and the holders of a £68m, 15% interest rate mezzanine bond, are on the verge of signing a deal in which RBS would take an equity stake in the project and the mezzanine lenders write off debt and interest payments in return for an equity stake.

The restructuring would give the lenders a 73% stake in the project, which is valued at £296m, and free up cash to complete the development and reduce interest payments.

Baltimore Wharf will comprise a total of 972 flats. A “twisting” 45-storey tower will have 105 serviced apartments and a 180-bedroom hotel. Other buildings will include 285,000 sq ft of offices, 51,667 sq ft of retail, leisure facilities and a community centre.

The first phase, which will comprise 600 flats in five blocks, has been largely completed, but the tower has not yet been started...

Read more: http://www.propertyweek.com/news/-ba...#ixzz1B0hlRxEp
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Old January 19th, 2011, 11:36 AM   #2096
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can someone tell me the name of the city or district that was this photo taken from?

That's got to be from Blackheath Hill, so somewhere on the borders of Blackheath/Greenwich/Honor Oak Park. I've tried to find the street on Google Earth, but have decided I was being abit sad!
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Old January 20th, 2011, 12:42 AM   #2097
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Baltimore Wharf would be a really good signature tower for the area.
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Old January 20th, 2011, 02:37 PM   #2098
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Quote:
Thames floating walkway links riverside attractions

A futuristic floating boardwalk is set to be built along the north shore of the Thames in time for the 2012 Olympics.

The eye-catching walkway would border a river garden stretching along the Thames from Blackfriars to the Tower of London.



It would provide the first continuous pedestrian link along the northern bank and connect some of London's most visited tourist attractions, such as St Paul's Cathedral and Tower Bridge.

The boardwalk would link five pavilions focusing on leisure, education, green energy, innovation and events.

The design, by international architecture firm Gensler, is shortlisted for the best conceptual project prize at the Mayor's London Planning Awards, taking place tomorrow. Boris Johnson is understood to be keen to press ahead with the river garden project whether it wins or not, although it is as yet unfunded.

The proposal is likely to face objections from campaigners who will point out that it is on a World Heritage site, but the entire structure would be temporary - and floated into place - meaning it could be installed without damaging its surroundings.

Gensler said the walkway would enable pedestrians "to experience a totally new relationship with the river and the city".
http://www.thisislondon.co.uk/standa...attractions.do
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Old January 20th, 2011, 02:54 PM   #2099
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by SE9.

[IMG]http://i53.************/155nuz6.jpg[/IMG]
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Old January 20th, 2011, 03:48 PM   #2100
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Thats so sick, can someone get me a bigger picture pls?
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