Thank you each and all for the careful contributions that helped to shape it. A wonderful project gets the recognition it deserves. It’s an honour for us to have had the opportunity to design a place with these qualities and scale.
The new landscape for car manufacturers is vested in car sharing. The new mindset for towns and cities should be to recognise the imminent redundancy of parking and shift their focus to reclaiming our streets for public open space.
Sugar House Island coming into focus with the Evening Standard article last night and the website for the development going live too. The new workplace and office accommodation of Dane’s Yard is the first piece after the new riverwall and makes a creative quarter around the old yards and buildings and our earlier landmark tower. Good to see how Vastint is bringing it all together now, and just how the intended character, atmosphere and scale have been carried through into Waugh Thistleton’s realisation of the buildings and Planit’s public realm and outdoor spaces. The weaving of the new arrangement with the historic remnants brings familiarity as well as the feel of the future.
A snapshot taken at MIPIM this year by Alex Ely of MAE and showing a part of the extensive London Model with Sugar House Island as the main subject matter. The 1:2000 interactive model will be back on view at its usual place in the New London Architecture Gallery at the Building Centre in Store Street, Bloomsbury, London WC1E 7BT
Construction is progressing well on our office project in Orhideea
We like this and hope you do too.
Exhibition held at the Tetley Arts centre for the public to comment on the masterplan proposals for the site.
'That’s the trouble with London’s rich. Take away their nannies and next minute they are fighting like rats in a sack. In Kensington they become maniacal moles, digging under each other’s houses. In Battersea they buy-to-leave and sue for the title deeds when they divorce. Now in Southwark of all places they look up each other’s knickers and scream blue murder.
The saga of Tate Modern and “net-curtain-gate” has more irony than an Alan Ayckbourn play. The Tate’s boss, Sir Nicholas Serota, once objected to residential towers going up behind his beloved power station. He lost, and a tower by Richard Rogers duly rose next door, and now he has hit back with a truly hideous tower of his own. That is what rich people do to each other. Serota’s viewing balcony leers down on Rogers’s svelte “Neo Bankside” glasshouse just 20 metres away.'