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@Barbican_City_of_London

1935, designed by Wilhelm Krebs, architect (no rel

1935, designed by Wilhelm Krebs, architect (no relative we hope of Hans). This is Guatemala City’s Radio Station. Well worth comparing the design with Hans Scharoun’s Haus Schminke, both embracing the sense of travel and speed of the age. Photo with thanks to @piecederesistance

On the south side of the lake between St Giles’

On the south side of the lake between St Giles’ Church and Seddon House (a residential block on the Barbican Estate) is City of London School for Girls. There is a covered walkway ‘tween the school and the lake which is precisely where this photo is taken from. The school founded in 1797, eventually welcomed its first pupils in 1894 to Carmelite Street. A couple of wars and the creation of the Barbican meant a permanent move to today’s site. The building of the school, which took seven years, began in 1962 ahead of the Barbican Centre whose building programme began in 1971 and was completed in 1982. Whilst it appears to sit harmoniously as part of the Barbican estate every so often it manages to galvanise preservationists and campaigners when it attempts to expand and alter the space within which it sits. The @c20society society together with a sustained campaign by residents have so far managed to resist these attempts.

Taking the expression putting-something-on -the-ma

Taking the expression putting-something-on -the-map to its fullest meaning. This is Raketenstation (Rocket station) Isle, a stellar example of how to reimagine a space created for a very different purpose. The isle, a former NATO missile base and silo ‘not noted on any maps’ home to warheads for cruise missiles and Pershing rockets, is today an art island anchored by Museum Insel Hombroich Langen Foundation. From a dream vision by Karl-Heinrich Müller who purchased the land, a “small neglected piece of earth” and invited Tadao Ando to visit in 1994, to reality is best described by the Langen Foundation. ‘Enthusiastic about Müller’s plans, Ando developed an architectural model that was to become integrated into the project. When Marianne Langen first saw Ando’s plans in the year 2001, she quickly decided to have this building erected as the final, and also the largest, work of art in her collection. Acting on her personal precepts, she refrained from accepting any outside funding.’ The site is home to a series of pavilions in a space largely and purposefully devoid of signage and a marvel to behold, this one is a ‘four-metre-high, semi-circular concrete wall with an incised portal…’. Image Lipinski CC BY SA 3.0

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