Category Archives: Architecture

Slapstick architecture: how a €3.99 Ikea salad bowl became part of the Rotterdam skyline

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The colossal mirrored bowl of the Depot Boijmans Van Beuningen costs a fortune to clean and has upset a neighbouring hospital. So how are locals finding it?

Inspiration often strikes at lunch in the office of Dutch architects MVRDV. It’s the one moment in the day when everyone breaks from their screens and comes together around a long communal dining table, spread with assorted salads, to eat and chat. One fateful day in 2013, during a lunchtime brainstorming session, the tableware would prove to be more inspirational than ever. Eight years on, a monumental Ikea salad bowl has been added to the Rotterdam skyline – a €3.99 Blanda Blank rising 40 metres high.

“I was looking for something round,” says Winy Maas, the puckish frontman of MVRDV, describing the origins of the Depot Boijmans Van Beuningen. This €94m (£80m) open archive for the city’s art museum now stands as a colossal mirrored bowl in Rotterdam’s Museumpark, reflecting the surroundings in a surreal panorama. “The interns had put a big rectangular block of Styrofoam on the site model,” Maas recalls. “It was too rude. I thought something round would be nicer to our neighbours, so I replaced it with a mug. Then we wanted to reduce the footprint, so I grabbed the stainless steel bowl, with its nice mirroring aspect. That was it.”

Such is the design process in an office founded on whimsical spectacle. Maas revels in turning models upside down, or grabbing whatever is to hand and adding it to the mix. One project began as a cluster of blocks before he draped a cloth over the model, turning it into a lumpy hill. Another building, with house-sized blocks dramatically cantilevered from its side, was the result of a model of a grid of little towers being mistakenly placed horizontally on the table. The comical process is intrinsic to the practice’s quirky Superdutch brand, and key to their global exportability. (For the Depot launch, a dedicated press conference was held in Chinese.) As architectural slapstick, their work transcends cultural boundaries.

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Herzog & de Meuron: ‘Architecture is the art of facts. We shouldn’t have a moralistic standpoint’

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The Basel-based ‘starchitects’ are at work on highly charged projects in Israel, Hong Kong and the new Cambridge HQ of AstraZeneca. How do they negotiate openness and inclusion?

Next month, a mighty new art museum opens in Hong Kong, billed as the most significant in the continent of Asia, whose waterside facade features a vertical digital screen the size of a football pitch. It does this in the middle of the political storm caused by the Chinese government’s national security law, which threatens to crush the museum’s promises of freedom of expression.

On the outskirts of Cambridge, England, the finishing touches are being applied to the crystalline new headquarters of AstraZeneca, the pharmaceutical company whose Covid vaccine has made it a global household name. In Jerusalem, just across the road from the Israeli parliament building, a new national library is under construction, with the stated aim of serving all the communities and faiths of a violently divided country.

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Mismatch plates and hang art low: 18 ways to create a more beautiful home

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Matt Gibberd, founder of high-end architectural estate agency The Modern House, shares his top tips

For the past 16 years, I have spent my days nosing round other people’s homes like a design-obsessed basset hound. I have been granted access through hundreds of locked doors, perched on wobbly Windsor chairs, and taken tea in stylish studio flats, cleverly converted factories and even a working barge.

Throughout all this, I’ve learned a lot. As The Modern House has grown, I’ve discovered that these homes – from studio flats to listed architectural masterpieces – have the same design principles in common: clever layouts, masterly manipulation of natural light, tactile materials, a connection to nature, sheer exuberance and personality in decoration – and much more.

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As important as the Taj Mahal? The Palestinian refugee camp seeking Unesco world heritage status

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For 70 years, the ramshackle Dheisheh refugee camp near Bethlehem has been a site of displacement. Why is this ‘heritage of exile’ not enough for Unesco to grant it the status it gives Macchu Picchu and Venice?

The Dheisheh refugee camp near Bethlehem doesn’t look much like your usual Unesco world heritage site. For a start, there are no souvenir stalls or swarms of trinket hawkers. Instead, cracked concrete walls covered with Arabic graffiti frame the entrance to a corner shop, where an old photocopier stands next to a few meagre shelves of provisions. A taxi loiters on a potholed street between piles of broken breeze blocks, while electricity cables and phone wires dangle precariously overhead.

But a new exhibition at London’s Mosaic Rooms sets out to argue that this ramshackle site of mass displacement should be considered worthy of the same protected status as Machu Picchu, Venice or the Taj Mahal. “We want to destabilise conventional western notions of heritage,” says Alessandro Petti. “How do you record the heritage of a culture of exile? When world heritage sites can only be nominated by nation states, how do you value the heritage of a stateless population?”

Since 2007, Petti has been working with Sandi Hilal, leading DAAR, the Decolonising Architecture Art Research collective, treading nimbly between the worlds of architecture, politics and development. For the last seven years, they have been working with Palestinian refugees in the Dheisheh camp to compile an unlikely dossier to submit to Unesco, arguing for the location’s “outstanding universal value” as the site of the longest and largest living displacement in the world.

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Isn’t it good, Swedish plywood: the miraculous eco-town with a 20-storey wooden skyscraper

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Skellefteå has wooden schools, bridges, even car parks. And now it has one of the world’s tallest wooden buildings. We visit Sweden to see what a climate-conscious future looks like

As you come in to land at Skellefteå airport in the far north of Sweden, you are greeted by a wooden air traffic control tower poking up from an endless forest of pine and spruce. After boarding a biogas bus into town, you glide past wooden apartment blocks and wooden schools, cross a wooden road bridge and pass a wooden multistorey car park, before finally reaching the centre, now home to one of the tallest new wooden buildings in the world.

“We are not the wood Taliban,” says Bo Wikström, from Skellefteå’s tourism agency, as he leads a group of visitors on a “wood safari” of its buildings. “Other materials are allowed.” But why build in anything else – when you’re surrounded by 480,000 hectares of forest?

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China’s ugliest buildings: contest to celebrate unsightly architecture begins

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This year’s contenders include a violin-shaped church and a ‘welcome to hell’ glass bridge joining two mountains

An infamous “hall of shame” listing of China’s top 10 “ugliest” buildings has kicked off with 87 bizarre designs in the running, including a violin-shaped church and an Inner Mongolia hotel in the form of a monstrous babushka doll.

Over the past 11 years a Chinese architecture website, archcy.com, has been inviting people to vote in the lighthearted annual contest that it hopes will encourage people to ponder the flexible notion of beauty.

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Work begins on wrapping Arc de Triomphe for Christo artwork

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Operation combining art and engineering on a massive scale fulfils dream of late artist couple

Shortly after the sun rose over central Paris, the first of the orange-clad rope technicians hopped over the top of the Arc de Triomphe and began to abseil down the landmark unrolling a swathe of silvery blue fabric that shimmered in the early light.

Someone clapped as the first abseiler went over the top – 50 metres from the ground – but most in the crowd of onlookers just held their breath. It was a slow and meticulous operation, requiring them to stop make adjustments to the folds in the material every few metres while avoiding touching the arch itself.

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Berlin’s bizarre new museum: a Prussian palace rebuilt for €680m

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A cross between a Disneyland castle and a chilling concrete block, the Humboldt Forum is set to teach visitors about Germany’s colonial era. But is the past being examined – or exalted?

A museum gift shop has never been such an ideological battleground. At one end of the store in Berlin’s new Humboldt Forum is a display of souvenirs adorned with the gilded silhouette of the Stadtschloss, the city’s former royal palace, which was bombed to pieces in the second world war. Racks of silk scarves and Christmas baubles hang above rows of candles in regal colours, emblazoned with an image of the stately Prussian pile.

At the other end of the shop is a rival range of merchandise, themed around the former East German parliament and leisure centre, the Palast der Republik, which was triumphantly built on top of the ruins of the palace in the 1970s. With its sharp white marble walls, bronze-mirrored windows and space-age chandeliers, it was designed to showcase the wonders of socialism. You can buy keyrings and enamel mugs in a retro Soviet style, as well as a model kit of the building in Formo, the East German version of Lego, for €250.

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Two pints of lager and a view of St Paul’s: the secret life of London’s most thrilling boozers

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What makes a pub special? From the perfect place to flog atomic secrets to the official strictly protected viewpoint for St Paul’s, a new book tells the amazing stories behind the city’s greatest bars

When you stumble out of the medieval warren of Ye Olde Cheshire Cheese pub on Fleet Street, it’s easy to think you’ve had one too many. As you gaze east towards the dome of St Paul’s Cathedral, the skyscrapers of the Square Mile appear to lean back in a woozy limbo, as if lurching to get out of the way.

It’s not the effect of the real ale, but the result of a curious planning rule. The City of London’s policies have long specified the pavement outside this particular pub as the hallowed spot from which Wren’s dome must be perfectly visible against the sky. Even the towers that stand behind it to the east, like the Cheesegrater and the Scalpel, derive their strange chamfered forms from having to preserve a sacred gap behind the cathedral’s silhouette, when seen from outside the pub.

Trace the lines of London’s historic protected views, and you’ll find that many of them end up outside pubs. It reflects not just the fact that the surveyors enjoyed a pint or two, but the central importance of the public house in shaping the history of the city – a phenomenon that is celebrated in a new book.

“There are already so many books about pubs,” says David Knight, co-author of Public House with Cristina Monteiro. “We wanted this one to be different. It’s not a guide to the best places to have a pint but a collection of social and cultural histories, trying to bring together a more diverse range of voices to explore the value of pubs to the city and society.” While the majority of pub literature may be of the stale white male genre, this compendium includes South Asian Desi pubs, African-Caribbean pubs, and a range of pubs that have played a role in LGBTQ+ history.

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The curse of Mies van der Rohe: Berlin’s six-year, £120m fight to fix his dysfunctional, puddle-strewn gallery

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The modernist maestro had carte blanche to build a great museum. The result? A breathtaking icon hopeless for displaying art. British architect David Chipperfield relives his gargantuan repair job

Never has so much praise been lavished on so dysfunctional a building. The last major project of modernist master Ludwig Mies van der Rohe, Berlin’s Neue Nationalgalerie is a perfectly square temple of steel and glass, raised above the street on its own granite acropolis. Built in 1968, not far from the recently erected Berlin Wall, it was intended to symbolise the freedoms of the west, its big black roof enclosing an epic column-free hall for the display of modern art. It has long been venerated as a 20th-century Parthenon, the ultimate example of Mies’s pursuit of “universal space”.

But as a museum, it has always been a disaster. Ever since it opened, the New National Gallery has been dogged by cracking windows, heavy condensation and awkward display spaces, presenting a curatorial nightmare for its staff. Beneath the impractical grand hall are subterranean galleries for the permanent collection that have the dreary feeling of a windowless office complex. It is one of the most extreme examples of the quest for purity of form trumping the demands of function.

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Scrawny trees, patchy grass, terrible view … why £6m Marble Arch Mound still falls flat

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After a summer of free entry, visitors will now have to pay up to £8 to climb the London project. But will they bother?

It has been called a “BTec Eiffel Tower” and a “slag heap”. It’s been compared to “a car-park Santa’s grotto, with dogs pretending to be reindeer”. The Marble Arch Mound, the temporary artificial hill commissioned by Westminster city council as an “ambitious” visitor attraction, has become, as a representative of the local community put it, “an international laughing stock”.

The council responded to criticism by allowing free entry during August, and a certain number of the curious and the ghoulishly fascinated have turned up. This week it will start charging again. Given fundamental flaws in the project’s conception, the question is whether people will want to pay £8 for a weekend fast-track ticket now, any more than they did when it first opened at the end of July.

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Tiny New Zealand airport that tells Māori love story in running for global design award

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Regional hub in New Plymouth – built on land seized from Māori in 1960 – is up against the likes of New York’s LaGuardia for Unesco’s Prix Versailles

A tiny regional airport in New Zealand that weaves a Māori story of love and longing into its architecture is in the running for a prestigious design award, up against international heavyweights including New York’s LaGuardia.

Unesco’s Prix Versailles recognises architecture that fosters a better interaction between economy and culture, and includes a range of categories from airports to shopping malls. The finalists for the airport category include the New York LaGuardia upgrade, Berlin’s Brandenburg airport and international airports in Athens, Kazakhstan and the Philippines.

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Bat on a non-slip roof: National Trust adapts manor for nocturnal residents

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Oxburgh Hall in Norfolk gives tiles a special coating to stop bats slipping off as part of £6m roofing project

Bats have probably been in the attics of Oxburgh Hall for centuries. But how can they return for a good day’s sleep when the National Trust puts new and unfamiliar tiles on the roof?

The trust on Thursday revealed the lengths to which it has gone to keep the bat residents of a historic manor house in Norfolk happy during a £6m reroofing project – including specially adapted tiles which they can happily scoot up.

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Buried in concrete: how the mafia made a killing from the destruction of Italy’s south

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The south of the country bears the scars of how bosses enriched their clans with illegal, brutalist buildings and gaudy, now decaying, villas


If you ask Maurizio Carta what the mafia looks like, he will take you to the residential areas of the Sicilian capital of Palermo. There, hundreds of desolate, nondescript grey apartment blocks scar the suburbs and a vast part of the historic centre.

It is the result of a building frenzy of the 1960s and 1970s, when Vito Ciancimino, a mobster from the violent Corleonesi clan, ordered the demolition of splendid art nouveau mansions to make space for brutalist tower blocks, covering vast natural and garden areas with tonnes of concrete. It is one of the darkest chapters in the postwar urbanisation of Sicily, and would go down in history as the “sack of Palermo”.

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Why the Marble Arch Mound is a slippery slope to nowhere

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The artificial hill in central London seems a great idea, but it would be better to have done something that genuinely helped the environment

The Torre Guinigi in Lucca, Italy, is a brick medieval tower – it’s handsome, but of a type common enough in historic Tuscan cities. What makes it special is a grove of holm oaks growing from its summit. Trees come with expectations, such that they are rooted in the ground, yet there they are, high in the air, apparently flourishing. The tower would be less interesting if it weren’t for the trees and the trees would be less interesting if it weren’t for the tower.

So there’s something compelling about trees in unexpected places. Hence at least part of the appeal of the High Line in New York, where gardens grow on an old elevated railway line, and of the ski slope on top of the Amager Bakke power plant in Copenhagen. There’s been a thing for wrapping towers in vegetation in recent years. Little Island, the micro-park recently created by Thomas Heatherwick over the Hudson, has a similar well-I-never, Instagram-able impact.

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Unesco strips Liverpool of its world heritage status

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UN body says years of development have caused ‘irreversible loss’ to historic value of Victorian docks

Liverpool has been stripped of its coveted world heritage status after Unesco blamed years of development for an “irreversible loss” to the historic value of its Victorian docks.

The UN’s heritage body concluded at a meeting in China on Wednesday that the “outstanding universal value” of Liverpool’s waterfront had been destroyed by new buildings, including Everton football club’s new £500m stadium.

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Frank Gehry’s Luma Arles tower to open in south of France

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Building is architect’s tribute to Arles’ most famous residents: the Romans and Vincent Van Gogh

Rising from the skyline of Arles, the tower appears like a futuristic structure from a Marvel movie with nearly 11,000 stainless steel panels gleaming in the Provençal sun.

Here, at what was once the centre of the Roman empire in France, this twisting structure is the 92-year-old architect Frank Gehry’s tribute to Arles’ most famous residents: the Romans and the artist Vincent Van Gogh.

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‘It has the feel of a little local pub!’: Guardian readers on their extraordinary DIY sheds

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From an allotment shelter built out of old doors to a storage shack turned into a chapel, here are some of the best of our readers’ creations

This is my pandemic project: a garden pub shed, called the Doghouse. It is custom-built from timber with a Firestone rubber roof. Lockdown finally gave me the time to build it and I tried to reuse or recycle materials where I could. The doors and windows were from a friend’s old conservatory. The timber herringbone and boards, plus the back bar shelving, are pallet wood, which I burnished with a chainmail pad, and oiled to give it a nice worn look. I built the bar and canopy from scratch using leftover framing timber. The bench was built from a recycled bed headboard and I used a mattress for the seat. The table and chairs were a local Gumtree find, and the bar memorabilia and pumps were from eBay. I’m probably proudest of the bar. It has the feel and character of a little local pub – we often eat dinner there for a change of scenery. Our two children love it. But we will, of course, still support our local pub whenever we can. Gavin Thomasson, 42, design manager, Ipswich

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‘Shocking’: the London cemetery with listed monuments and a protruding limb

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Campaigners want urgent action to save neglected and vandalised graves in West Norwood Cemetery

Its beautiful Grade II* listed monuments were erected in memory of leading members of the Greek community in 19th-century London, but the graves in West Norwood cemetery are now in a dire state of neglect – with one decaying casket recently photographed covered in a thick layer of pigeon droppings, with a limb protruding.

Lambeth council, which compulsorily purchased the cemetery more than 50 years ago, recently withdrew security to save money and campaigners are calling for urgent action to protect listed monuments from ruin.

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