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Stanton Williams and Asif Khan to design new Museum of London at West Smithfield
An outstanding example of London creativity, Stanton Williams and Asif Khan were selected from an inspiring shortlist of six architectural teams by a panel of well-known figures from the world of the arts, media, property, architecture and business, chaired by broadcaster and economist, Evan Davis. The decision brings to a close a six-month long competition funded by the Greater London Authority (GLA), which attracted over 70 entries, and was managed by Malcolm Reading Consultants.
The vision for the new Museum of London balances a crisp and contemporary design with a strong recognition of the physicality and power of the existing spaces of the West Smithfield site.
The winning architects will now work closely with the team at the museum and the museum’s stakeholders including the GLA, City of London Corporation and the local Smithfield community to develop their initial concepts into a fully-formed vision for the new museum at West Smithfield.
Evan Davis, Chair of the Jury, said of the decision:
“The jury knew it would be a difficult choice and that’s what it turned out to be. We had six fantastic teams on the shortlist; each had ideas for the site that were both ambitious and interesting. I would never have guessed that you could take wonderful old buildings like that and turn them into a new museum in so many completely different ways.
But after a lot of discussion, a clear winner emerged. Stanton Williams and Asif Khan offered some really innovative thinking, and managed to combine a sensitivity to the heritage of the location, with a keen awareness of the practicalities of delivering a really functional museum.”
Sharon Ament, Director of the Museum of London, said:
“Now we have Stanton Williams and Asif Khan on board the hard work begins, and I cannot wait to get started. Over the coming months we will work together to design a new museum for London and Londoners which will be one of the top visitor attractions in the capital. Our project sparked the imagination of truly remarkable architects whose hard work and talent produced astounding submissions. I am grateful to them all. The Stanton Williams and Asif Khan partnership is a scintillating combination.”
Mark Boleat, Chairman of the Policy and Resources Committee at the City of London Corporation, said:
“The City of London Corporation is proud to be a major funder and supporter of the Museum of London. We are looking forward to working with the museum as it launches this project to move to a new site in West Smithfield. We hope these ambitious plans will secure the museum’s long-term future, build on its reputation as an outstanding storyteller of the capital’s rich history, and contribute to the evolving Cultural Hub in the City.”
Paul Williams, Director of Stanton Williams, said:
“We are immensely excited about being given the opportunity to work with the Museum of London on this wonderfully challenging project – participating in an endeavour that will transform an area of London that has such a rich history, but sadly has been in decline for many years.
Encountering the historic market spaces for the first time in early April this year, we were ‘blown away’ by the power and physicality already existing, and knew then, that whatever scheme we developed, this physicality needed to be harnessed, and not lost, and that initial observation has inspired our initial design proposals. This project will engage a broad community well beyond London.”
Asif Khan said:
“To have a chance to create a new museum for London, in London, about London, at this moment in time is incredibly exciting for us. We all know the power of public spaces in changing our city and our individual lives, and this is what drives us. We want the Museum of London to be a museum where everyone belongs, and where the future of London is created.”
The museum intends to submit a planning application for the West Smithfield site to the City of London Corporation in 2019 and to deliver the new museum by 2024.
Comments Off on Kite StoreRedchurch Street has changed over the past 20 years from an unknown, semi residential back street to being a mixed-use high street with a mosque, a hotel, an adjacent members club, advertising agency, luxury fashion stores and apartment buildings. A street which exemplifies the changes brought about by the past 20 years of private investment in Shoreditch, new projects here are commonplace. Such projects demand new thinking of model, purpose, and operation.We were asked to rethink the experience of buying eyewear, a typology traditionally dominated by casual shelf browsing and typified by an over-saturation of choice.Our project swaps the traditional wall display of frames for a personalised customer experience where specialists select and tailor the frame choice to the individual. The concept changes the customer experience from browsing to consultation.At Kite a series of fine timber booths offer one-to-one consultation in a semi-private bar setting. Concealed magnetic attachments allow the personal mirrors to be adjusted to the customers preference and adjustable partitions give customers the freedom to decide how private their experience will be and encourage more experimentation with styles. However, this is not an experience of isolation, as dedicated members of staff are on hand to guide you through your choices. Basic human interaction and open conversation becomes key.The store’s collection of frames is hidden from immediate view, held in the 200 drawers of the bar. A curated selection is carefully prepared and brought out for you. The honesty of experience is reflected in a simple palette of materials. Warm maple for the elements you touch and gather around, and textured bulletin board and etched silver mirrors wrap the existing blockwork walls, creating a tactile minimalism which brings the intricate detailing of the eyewear to foreground.
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The Great Courtyard of Palazzo Litta hosts Tempietto nel Bosco, an installation by the London-based studio Asif Khan debuting at Milan Design Week. Khan is renowned for his exceptional projects which include the MegaFaces pavilion at the 2014 Winter Olympics in Sochi, the Coca Cola Beatbox in London at the 2012 Summer Olympics in London, the Summer House at the Serpentine Galleries in London, the Guggenheim Helsinki Plan, the U.K. Pavilion at the Expo 2017 in Astana, the Hyundai Pavilion in PyeongChang during the 2018 Winter Olympics, and the Museum of London in West Smithfield.
The wood-based installation for The Litta Variations/4th Movement, unique in the way in which it slants upwards, explores the natural element of the forest while simultaneously exploring the architecture of an open-air cathedral, an extension of the Renaissance structure of Palazzo Litta, which, by way of a matrix of interconnected rooms and corridors, leads to a space of tranquility and relaxation. “The intimate rooms are intended as a place to unwind and converse during the intense marathon that is Milan Design Week. A soft surface under the feet offers a textural contrast against the kilometers of pedestrian sidewalks across the city,” says Asif Khan.
The architect imagined the pavilion as a clearing in a forest, of which the courtyard of Palazzo Litta becomes a counterpart: an orderly environment created by men. The installation of Asif Khan is a reflection on the past, on the present and on the future. Next to the world of the forest and the architectural order defined by man, the future takes shape, represented by the clearings created in space. Hence the overall redness of the installation: the colour of the new world with which contemporary man is more and more familiar: the red planet, Mars.
Client: Damn Magazine, Mosca Partners
Fabrication: Imola Legno
Furniture: Living Divani
Stone: Van den Weghe
Photography: Luke Hayes
Photography & Drone Footage: Laurian Ghinitoiu
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The UK Pavilion has been designed by Asif Khan leading a team of British talent.
Inspired by the Astana 2017 Expo theme of ‘Future Energy’, the UK pavilion explores the origins of energy. Beginning with the birth of the universe, taking visitors on the journey of energy from the sun through to the earth’s landscape, its climate, human civilisation and UK innovation. The UK pavilion is multi-sensory experience involving film, technology, sound and computer generated animation.
At the heart of the UK pavilion is a stunning 60 metre panorama depicting a living, universal landscape generated entirely by computer. It captures the relationship between the Sun, the Earth and its climate in incredible detail through virtual day and night. At a stunning 40,000 pixels wide it is the largest project of its kind ever undertaken.
The panorama surrounds a striking centrepiece structure inspired by the architecture of yurts, representing the timeless connection between human civilisation and our environment. Its transparent spokes respond to human touch with illumination, which in turn influences the landscape around it, gently altering its weather in reaction to visitor activity.
An original score by musician Brian Eno unfolds in parallel with this journey. It takes visitors from a single tone at the entrance and exit, and builds to a continuous, richly layered composition, immersing people as they view the landscape.
The visitor is then invited into a gallery space to discover innovations from the UK, showcased through an animated triptych of UK energy past, present and future against a backdrop of well-known landmarks and activity.
Before exiting the visitor will be welcomed into a special display on graphene – the UK’s most recent global innovation. A wonder material that is the strongest, thinnest and most permeable material known to man, whose potential is limitless. This gallery also hosts a series of pop-up displays throughout the period of the Expo.
From the beginnings of universe 13.8 billion years ago, to the emergence of the Sun, the Earth and of human ingenuity, the story of the UK Pavilion is that everything including ourselves are connected through energy. Our pavilion asks the question, if we can realise we are all energy, connected to each other and to everything from the beginnings of time, how might it affect the way we think about energy in the future?