beyond your map

One Kemble Street, formerly known as "Space House," stands as a distinctive Brutalist landmark in London. Designed by George Marsh and Richard Seifert and completed in 1968, the cylindrical office block features Y-shaped columns and a modular structure of precast concrete blocks. Photographer Ste Murray captures its unique aesthetic and classical symmetry, challenging perceptions of Brutalism. The building's colosseum-like appearance is highlighted against the night sky, showcasing its hidden complexity. Jonathan Foyle notes the dichotomy in the term "brut," reflecting both raw concrete and Champagne, encapsulating the essence of Brutalist architecture.

Denys Lasdun's Royal National Theatre, completed in 1976, initially faced criticism but has become a beloved Brutalist icon in Britain. The design features varied massing, fly towers, strata-like terraces, and entrance-marking towers, aiming to create a "fourth theatre" with public spaces. Despite initial skepticism, the building's grand yet intimate spaces and its adaptability to changing needs have made it a vital part of London's urban fabric. Recent upgrades, such as exterior lighting and renovations, have rejuvenated the iconic structure.

In 1959, the Smithsons were tasked with designing a new headquarters for The Economist magazine in Piccadilly. Drawing inspiration from the narrow lanes of the old City of London, they crafted a spacious pedestrian plaza featuring three meticulously detailed towers. Each tower, built on varying scales, was adorned with traditional Portland stone. The office interiors were informed by extensive research into the working habits of The Economist journalists. In 1989, SOM (Skidmore, Owings & Merrill) undertook renovations, making adjustments to the tower and plaza. They updated the technical and environmental building control systems and expanded the lobby area to enhance internal circulation.

In 1965, Camden's progressive approach led to the creation of Alexandra Road, a low-rise, high-density housing project. Completed in 1978, it faced neglect in the 1980s due to policy changes. Residents successfully petitioned for restoration in 1989, resulting in a Grade II-star listing in 1994. Alexandra Road is now recognized as Europe's significant social housing example, showcasing successful low-rise, high-density design with quality public spaces. Despite challenges, it stands as a valuable part of national heritage and a model for successful mass housing.

Stockwell Bus Garage, an exceptional Modernist building in London, opened in 1952, features a stunning undulating concrete roof without pillars, providing shelter for 200 buses. Despite its architectural brilliance, it often goes unnoticed due to its association with bus transport. The garage's unique design, with curved elements and skylights, showcases the creativity of architects Adie, Button, and Partners, along with engineer A E Beer.

During WWII, the Luftwaffe destroyed the Barbican in London. Post-war, Chamberlin, Powell, and Bon Architects proposed a housing scheme, completed in 1976 as the Barbican Estate. Notable for its Brutalist design, the estate features three towers, thirteen terrace blocks, and communal spaces. Inspired by Le Corbusier, it prioritizes natural light and pedestrian circulation. Despite criticism and a later addition, the Barbican gained Grade II listing in 2001, experiencing renewed appreciation for its architectural significance.

Housden House, a notable post-war Modern residence in London, designed and built by architect Brian Housden for his family between 1963 and 1965, earned a Grade-II listing from Historic England in 2014 for its exceptional architectural vision and innovative blend of influences. Now offered for sale in pristine original condition, it represents a rare opportunity. The house is a significant piece in the post-war housing movement and showcases Housden's deep understanding of European modernism, drawing inspiration from iconic structures like the Rietveld Schröder House in Utrecht and Pierre Chareau's Maison de Verre in Paris, while maintaining a distinct and novel vision all its own.

Carlo Scarpa, in 1950–2, enhanced the main Biennale building by creating a new courtyard. Removing smaller rooms, he designed a freestanding canopy with three carved arcs, allowing sunlight to wash the outer walls. The hovering 46cm concrete slab, supported by pillars with concealed steel spheres, provides shelter and relaxation in the garden-court between exhibits.

Designed by Carlo Scarpa in the late 1950s for Olivetti, the showroom in Venice, Italy, was initially a product display space. In 2011, it was repurposed to showcase Scarpa's architectural talent. The Olivetti Company, known for quality design, commissioned Scarpa to create a space highlighting both products and architecture. Located in Piazza San Marco, Scarpa transformed a dark alley into an open, light-filled showroom. Notable features include a marble staircase, strategically placed windows, and mosaic-tiled floors in different colors. The showroom, now a recognized historical building, serves as a museum for Scarpa's design.

Designed for 1000 people, this office building comprises sixty interconnected tower-like cubes. The central street area, reminiscent of medieval town planning, features glass-roofed spaces with coffee corners, relaxation spots, and meeting areas. The design incorporates illumination as an integral part, resembling street lighting. The metal stairs' transparency contrasts harmoniously with the substantial main structure, achieving diverse formal expressions through simple means and creating a spacious feel even in smaller workspaces.

Gerrit Rietveld's Schroder House, a 1920s masterpiece, is a visionary example of the De Stijl movement. Embodying modern art ideals, it features primary colors, geometric precision, and flexible spaces with collapsible walls. Designed for Mrs. Schroder and her children, the house avoids room hierarchy, allowing versatile use. Specific details, like paint colors and portable partitions, highlight Rietveld's meticulous planning. The house's radical design, spatial use, and adherence to De Stijl principles make it an icon of the Modern Movement.