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Juxtaposition of the original Broadcasting House building with New Broadcasting House and the steps and pillars from All Soul's Langham Place.
Again, taken early in the morning, it's the only time during daylight hours when the area isn't full of people.
In London for a meeting and had a visit to this impressive building at lunchtime to do a radio interview on Radio 4.
Regional TV station "Omroep Gelderland" as Living Statue
The last weekend of August 2009 took place the 5th anniversary of World Statues Festival (Living Statues Festival, World and dutch Championship Living Statues) in the city centre of Arnhem (Netherlands) with more then 250 participants and over 300.000 visitors.
The term living statue refers to a mime artist who poses like a statue or mannequin, usually with realistic statue-like makeup, sometimes for hours at a time.
This is an art that requires a great deal of patience and physical stamina.
Info: en.wikipedia.org/wiki/Living_statue
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Het regionale TV-staton "Omroep Gelderland" als levend standbeeld (Living Statue)
Het laatste weekend van augustus 2009 vond het jaarlijkse World Statues Festival (wereld- en Nederlands kampioenschap levende standbeelden) in het stadscentrum van Arnhem plaats. Het was de 5e verjaardag met cica 250 deelnemers uit de hele wereld en met meer dan 300.000 bezoekers.
Uitslag en meer informatie over World Statues Festival 2009: www.worldstatues.nl/site/
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All rights reserved. Copyright © Martien Uiterweerd. All my images are protected under international authors copyright laws and may not be downloaded, reproduced, copied, transmitted or manipulated without my written explicit permission.
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Broadcasting House is the headquarters of the BBC, in Portland Place and Langham Place, London. The first radio broadcast was made on 15 March 1932, and the building was officially opened two months later, on 15 May.
Broadcasting House is the headquarters of the BBC, in Portland Place and Langham Place, London. The first radio broadcast was made on 15 March 1932, and the building was officially opened two months later, on 15 May.
Late afternoon, Sunday November 17, 2013: captured by a passing photographer, artist Stephen B Whatley on location as he completed his new painting of the BBC New Broadcasting House.
The stunning amalgamation of the original Broadcasting House of 1932 with the new development has proved a challenge to photographers who have generally sought to photograph it from the air; but Whatley - who has a history of undertaking major architectural commissions on location, including 30 paintings for the Tower of London - was excited and greatly inspired by the challenge of capturing the immensity of this national landmark from ground level.
To see the complete painting close up:
www.flickr.com/photos/stephenbwhatley/11012041863/in/phot...
History of BBC Broadcasting House:
www.bbc.co.uk/broadcastinghouse/bh_story/index.shtml
Photograph: Courtesy of David Furness, of BBC Kent:
I loved the abstractness (is that a word??) of the windows against the rusty panels on this building.
SBS sign in Federation Square. The Special Broadcasting Service is a hybrid-funded Australian public broadcasting radio and television network. The stated purpose of SBS is "to provide multilingual and multicultural radio and television services that inform, educate and entertain all Australians and, in doing so, reflect Australia's multicultural society".
opened in 2010 this award winning design building, is accomadation for stuents. designed by sterling prize winning architects feilding clegg bradley
THE DISCOVERY by gleitzeit blog (the lost Interview in Rome)
I am using magnifying glass to be able to read a a PDF file of a very low quality.
My eyes are hurting. What I have found is something that is just not available…
I must say on the search for anything tagged “invisible” I find some pretty amazing
stuff I would never know about (later on that)
Paul meet me at the gate. He looked younger than I had expected. Dressed
casually.
As a host he cordially offered me to dine. While we entered the hall I had an urge to ask him, is this a museum? trying not to break anything as we passed by sculptures, paintings,
ceramics and a lot of other pieces of art which I had never seen before.
This unexpected excitement spoiled my appetite, and I was no longer hungry and
instead drank some wine.
He made clear that it is not any kind of a museum, but instead, his Paul’s studio. He lives not in Rome, but by the Terranian sea, where he was going shortly.
I asked Paul how he earns a living. Paul thought a little and tried to find an appropriate explanation. He finally lit on: "I am of independent means and don’t have to earn a living" pouring me another glass of wine.
I asked him: “ Can I buy some of your paintings? How much it will cost me?”
This question Paul left unanswered but he said that commonly he paints his
pictures without the intention to sell them.
Earlier I noticed a little girl and a young woman moving about him.
OMG!!!! I am shaken up. NOBODY KNOWS ANYTHING ABOUT Paul Jaisini’s personal life! I don’t believe this. THANK YOU GOOGLE! this is like really mystifying. I am not an emotional person, rather someone who loves to work hard and get the job done. This turned into something other than working.
Google nowadays is not your “grandfather’s” google so to speak. It is tailored
around you, your daily Internet activity, So finding any news, any special
information is no longer an easy task. I guess because there’s too much of
everything and what one is looking for could be placed out of reach. So we sort
of live on a planet that is flat as in dark ages. I say that because if one is
provided the info that is tailored with limitation it implies that breaking
away is not something one would even comprehend! We are too used to trust our social functioning and think that we know everything, on top of all news provided to us by the honest practice of the broadcasting companies.
We don’t want to be those conspiracy freaks with no trust to anything or
anyone. But truth is, if you don’t want to pay high dollar for some expert
articles on the topics that could give more than the free info, you are really
up against a brick wall of the new unknown reality and a total incapacity to acquire
the needed info of high quality without spending your whole life learning all the crap on the net and beyond in order to find finally what you need.
So search is a tricky mother. If you are creative and sort of spontaneous you
might somehow find your own style of fishing out the essentials. But in my case I
often felt helpless and lost no longer willing to participate in this
undertaking trying to document Gleitzeit.
It doesn’t look like I had managed a short explanation. But this is my formula of
finding something that is not available on the tailored to fit google search.
I enter the variations of phrases and words from the gleitzeit context of emails, postings, essays and add some other words I find on my way of locating Paul Jaisini's links. Turning the tag in a sort of a potion number nine that had proven to fetch some impossible to find info on such a quick inquiry without opening thousands of websites where I might find or might not find anything at all. And the most effective findings are with the tag "invisible" added to other things, be it email abbreviations and so on.
“The other must be his wife”, I thought, because Paul called her with some pet name's asking for a bottle of wine, for a book, or an ash tray.
“Is she your wife? “ I asked just in case.
Paul looked me in the eyes and said: “She is not my wife, nor the mother of my daughter, she is my secretary. “
The secretary I sensed didn’t like me much.
She didn’t call Jaisini by his name, Paul, but she instead addressed him as
mister Jaisini. She seemed obsequious and perhaps didn’t like me for my unrestrained manner and direct questions. She said to Paul: “You should not waste your time on this interview. You need to return to your work. “
Paul said: “It will be few minutes." and spent a few hours with me. A self-ruling man.
Paul didn’t drink any wine but he behaved at times extravagantly, showing the
outlines of the silhouettes in his paintings and explaining what was happening in the pictures.
Paul said that the point of his art being hidden from the public is an
intrigue that engages press in constant attempts to uncover the ‘truth’ behind it all. Nevertheless it is very disappointing, that people don’t care about real art, as they do about private affairs.
We went upstairs and in a spacious hall I saw a large painting. I didn’t hide my
awe.
“Wow! Where did you get such a big piece of canvas? The art stores don’t sell
this linen in such sizes. “
“It is stitched together from pieces," answered Paul.
“How did you reach the upper parts of the painting"
"I climbed the riser. Do you see the nude black man up there, tangled with a
serpent?"
"It reminds me of Laocoön. Is it intentional?"
"No, he is a symbol of physical grace without intellect. Do you see a group of
female bodies intertwined in a threesome?"
"No, I don’t see it. Where is the threesome?"
"To the left, look there."
"I look there."
"There the three figures, here is one, here is another one and the third one."
"Third is not a female figure, it’s some animal."
"It’s a female, but there is an animal, a bit higher up. The clown in the center
tears his mouth in a bloody smile, carrying out his role of a fool, laughing when
he wants to cry."
"Is that a monkey?"
"You got it, she is another symbol of the fate, she stopped hitting the tom-tom,
her direct purpose in circus. When she stopped to play and started to think, she
realized that her life is pitiful and she wants to kill herself. It’s a second
symbol of the same meaning."
"Tell me about that threesome again."
"Well, they show the natural grace, as three graces would, the sensual concept of
procreation."
"This picture must be a depiction of a circus performance, I suppose. Is it ?
Why it is so dynamic?"
"It is a circus performance but is the personal trial of human character. The ball construction is an object: - Paulsen’s ball, it is also a title of the painting."
"This ball creates some weight and it seems to move the composition with it’s
size and position and it seems to be on a verge of rolling down."
"You’re right! I also sense this immediate impulse to prevent the clown to fall
off that ball.
We went to other paintings, whole series of paintings.
When I gathered all my sensations about the art that surrounded me, it was time to leave. Paul Jaisini escorted me to the door. I shook his hand saying:
"You are an interesting man!"
"I am not a man..."
(the last sentence was a good ending)
en.wikipedia.org/wiki/Symbolism
en.wikipedia.org/wiki/Symbolism_(arts)
en.wikipedia.org/wiki/Invisibility
en.wikipedia.org/wiki/Fatalism
en.wikipedia.org/wiki/Gracefulness
en.wikipedia.org/wiki/Impossible_object
Have to type as I read PDF file that can’t be copied
Have to type as I read PDF file that can’t be copied
I am using magnifying glass to be able to read a a PDF file of very low quality. My eyes are hurting. What I have found is something that is just not available… I must say on the search for anything tagged “invisible” I find some pretty amazing stuff I would never know about (later on that) Now I am sitting in my office instead of having night out. It really is an impossible task to just discern the text. I filled up a spray bottle with cold water to spray my face to frequently refresh my eyes, as they get tired from the magnifying glass. It’s totally worth it, the thrill of discovery is my ultimate high.
Subj: Re: any suggestions?
Date: 2/5/00 Pacific Standard Time
From: bcwoodward@bigfoot.com (B. Woodward)
To: Yustas61@aol.com
CC: Angela Ahermeign
The attached file with original text before translation can be used in all related your project on Paul Jaisini.
All my corrections are in () and sometimes they replace the words nearby, other times they get inserted or have comments as well. It should be clear. Angela, you had some trouble with colloquialisms, unclear constructions and misplaced verb tenses. You switched among various forms of the past with irregularity. I’ve brushed it up. It makes a good narrative, though. Very interesting :)
Original Message-
From Angela A, Sent Thursday, February 03, 2000, 4: 25 PM
to bcwoodward@bigfoot.com
Subject Any suggestions
My first meeting with Paul Jaisini in Rome
(was it your first meeting with him, or just first time in Rome… unclear construction)
Paul Jaisini’s appearance at the exhibition of his art made a lot of noise in 1995 in Rome.
(caused a lot of noise, a lot of excitement, or was it just a noisy appearance?)
After newspapers published the (a) photograph of Paul Jaisini in the empty gallery, I read the article and realized how lucky I was to be in Rome. Nobody saw Paul Jaisini’s paintings. Yes, nobody… This what happened next. I called him once, then (a) second time. (,b)But Paul didn’t return my calls. Unfortunately I was not able to stay on guards (stand guard is the appropriate colloquialism) to catch him by the art gallery being (as I was) preoccupied with my (own) business. So I decided that I have (needed, not have) to find a way to see Paul Jaisini’s (hidden) paintings if he hides them. Such extravagance has (had) to be stopped.
I decided to offer him (no him here) to write a testament about (to) the existence of his art (, which would necessarily lead to him revealing it to me.) which will rise the necessity to see it.
I heard about Paul Jaisini before (that time) because he is quite a (reverse the a and quite) well-known contemporary artist. When I set up the appointment to meet (him) I easily found his cozy two- story town-house surrounded by (an) antique iron fence.
When I called (on) the intercom it took a while to explain who I was and why (I had come) did I come.
Paul meet me at the gate. He looked younger than I (had) expected. Dressed casually.
As a host he cordially offered me to dine. While we were entering (entered) the hall I had an urge to ask him, (“I) is it (this) a museum (?), trying to brake (break) anything, (no comma… as we passed) passing by sculptures, paintings, ceramic pieces (ceramics… drop the p word) and a lot of (other pieces of) art which I (had never seen before. drop rest of the sentence) was not able…
Gosh, I can feel how B. Woodward was feeling… WILL SHE REALLY SEE THE PAINTINGS by PAUL JAISINI?????? my eyes are punishing me for this thrill. I need to stop looking into the magnifier when I am now writing a comment without looking into unreadable copy.
Just waiting to get the courage to continue… my eyes need rest, I made myself some coffee with soy milk. But it surely means I want to prolong the suspense. I have no idea what is written in that text I located only god knows where or how.
I think that a gamer guru would understand me after he/she played hardest strategic games for a very long time and turned into a savvy thrill seeker.
medium.com/art-submissions/don-t-bother-901454f687cd The time has come to start making sense of things, of the world, of each other. We think we’re doing that, but we’re actually doing the opposite. We are complicating…EVERYTHING…tothe point of utter madness. Our world has become one ginormous madhouse, ESPECIALLY cyberspace — this alternate world we created within our world that seems to have created a world within itself — yet to be identified, recognized, and named. Making sense of things is not a bad thing. For example, let’s start with one major web enigma: Paul Jaisini and “Gleitzeit” which is this, uh, odd art movement the guy started in the 90s. If you simply google either of those names, I gaurantee you a good WTF moment or two. You’ll not just be scratching your head over this one. You’ll be scratching every part of your body like a delusional nutcase who thinks your skin is literally crawling with countless bugs. IT’S GONNA BUG THE HELL OUT OF YOU, let’s just say…maybe for a day or a week…or maybe, as for some folks, long after you’ve discovered it. You’ll be itching to understand what it’s about even just a little bit. Your mind will try to make sense of Paul Jaisini and/or Gleitzeit, it will want to, but will fail miserably. Frustration and anger will start setting in. I know because that’s how it was for me and every person that tried. The deeper you dig, the more you try to figure it out, the more confused, overwhelmed, baffled, and perplexed you’ll get. I guess for the people that attempt to understand the Paul Jaisini and Gleitzeit thing or debunk it, my advice is: DON’T EVEN TRY. DON’T GO THERE. IT’S NOT FOR YOU. The sleepless nights, the uncertainty, the questions and ideas that start invading your head, the horror of “waking up” from normality and regularity, the trauma of moving from one dimension to another… is not worth it. Well, for me it was worth it, but not for others. They claim it’s crazy and even dangerous for the mind, Paul Jaisini’s Gleitzeit. Well, sure, I mean you gotta break some eggs to make an omelette, dontchya? So, Gleitzeit is the omelette and all parties involved in GIG (Gleitzeit International Group) are the eggs. Makes sense. Speaking of which, “they” don’t want it to make sense, not even close. As a member of the group, I’m breaking protocol BIG TIME by writing this, by encouraging that you go out there, look this stuff up and figure it out, take away its shield of senselessness and defeat it… for the sake of a better world and future for us all. I hope someone out there hears me….one way or another, it had to be said…. Stelly Riesling
Katty Kay and Christian Fraser on BBC World News.
I found this in a sketchbook from sometime before the last election, but was not ever satisfied with the likeness, so I redrew it and inked it and I like this one much better.
Rapidograph .35 and .8 on Strathmore Bristol Board. 9" x 12"
London headquarters of Channel Four Television, including offices, post-production edit suites, restaurant, screening room and originally a studio. Built to designs by Richard Rogers Partnership (partner in charge, John Young), 1992-1994. Structural engineers Ove Arup and Partners.
The mapping of the listed building does not reflect the full extent of its below-ground footprint.
Reasons for Designation
124-126 Horseferry Road, built as the headquarters of Channel Four Television to designs by Richard Rogers Partnership 1992-94, is listed at Grade II for the following principal reasons:
Architectural interest:
* as an elegant work of the High-tech movement, displaying many of its key principles, such as the separation of services from the spaces served, the use of prefabricated elements and a technological aesthetic based upon expressed structure and exposed services; * for its logical L-plan with a dynamic, highly articulated corner composition and entrance sequence, dominated by a curved, top-hung, structural glass wall; * for the sophistication of its design, in which intricate details, executed in a consistent palette of materials, are integrated into a rigorous modular framework; * for its sequence of three linked interior spaces, centring on the dramatic full-height entrance atrium, to which are connected the fan-shaped restaurant and the subterranean screening room and foyer; * as a late-C20 exemplar of both a prestigious, owner-occupied headquarters building and a television centre, equipped primarily for the commissioning, but not the production of television programming, as per Channel 4’s remit; * for its designed flexibility to allow for changing technologies and operational needs, combining set-piece interiors with adaptable office workspaces; * for its degree of survival, with little alteration externally or to its key interior spaces.
Historic interest:
* as the purpose-built headquarters of Channel 4, a key player in television broadcasting history, commercially funded but with a public-service remit to provide innovative and diverse programming; * as an important British work by Richard Rogers Partnership, a practice of international renown led by one of Britain’s most celebrated architects.
History
124-126 Horseferry Road was built in 1992-1994 as the headquarters for Channel 4, a publicly owned, commercially-funded public service broadcaster, established with a remit to make innovative, experimental and distinctive programmes. After launching on 2 November 1982, its audience share gradually increased and the station soon outgrew its collection of rented offices in the West End. The switch to digital broadcasting also loomed. The chief executive, Michael Grade, and the chairman, Sir Richard Attenborough, took the decision to build a new headquarters. A suitable site was found at the junction of Horseferry Road and Chadwick Street, and a limited competition held in late 1990.
The commission was won by the Richard Rogers Partnership (RRP), who then explored the organisation’s needs through a series of workshops. As Channel 4 was a commissioner and transmitter, but not a producer of programmes, their main requirements were for offices and prestigious spaces to receive clients. The office space was specified to institutional standards so that the building could be readily let or sold in the event of a future move. A 10m deep basement already existed from a previous stalled development, so production and transmission facilities and a minimal studio occupied two subterranean levels, with provision made in the design for adding windows to the lower ground floor in the future, and flooring over the double-height studio to make the space more flexible.
RRP proposed a perimeter plan that reinforced the street pattern. Office wings at right angles were hinged by a ‘knuckle’, containing an entrance atrium and restaurant, with offices above. Behind the building a public garden was created, framed to the south and east by a separate housing development which fulfilled a planning condition set by Westminster City Council. In 2007 ‘the big 4’, a metal sculpture designed by Nick Knight and based on the channel’s current on-air identity was erected in the small piazza at the front of the building.
Richard Rogers was one of a group of British architects responsible for the High-tech movement, which originated in the 1960s with in a series of loose-fit industrial structures. By the 1980s High-tech architecture was increasingly being translated into urban contexts and cultural commissions. 124-126 Horseferry Road demonstrates many of its key principles, such as the separation of services from the spaces served, the use of prefabricated elements and a technological aesthetic based upon expressed structure and exposed services. It was Rogers’ first central London job after the Lloyd’s Building (1978-1986, listed Grade I), a seminal work of High-tech architecture. The image of Lloyds’ seems to have loomed large. For John Young, partner in charge, 124-126 Horseferry Road is ‘a building in the Lloyds mould.’ (Powell, 2001, 173).
The building’s drama is focussed on the entrance front; its transparency revealing the principal interior spaces, giving views right through the building to the public garden, and glimpses of working life within. ‘The effect, especially at night, is televisual’, commented Jonathan Glancey, (The Independent, 1994). The office wings are conventional in their planning and the building was designed to meet the bespoke needs of the client, as well as to be sufficiently adaptable should those needs change, or the building be sold.
124-126 Horseferry Road was a BBC Design Awards Finalist 1996 and won a RIBA National Award 1995; Royal Fine Art Commission Award 1995 and Civic Trust Award 1996. Since its opening the building has undergone several phases of internal refurbishment, including, in about 2010, the flooring-over of the double-height basement studio and repurposing of the space for various other uses. Externally, the building is largely unaltered.
Television as a broadcasting phenomenon began in the 1930s, with the first regular television service in the world introduced on 2 November 1936 by the BBC. The BBC’s monopoly was broken by the Television Act 1954, which created commercially funded Independent Television (ITV), served by regional franchised networks. Channel 4 arrived in 1982, established under the provisions of the 1980 Broadcasting Act. The act provided for a new, fourth, channel with a remit to ‘encourage innovation and experiment in the form and content of programmes’; its output was to be distinctive, offering programming for tastes not catered for by the commercial broadcaster ITV.
Its organisational model was equally distinctive, funded by advertising but adhering to a public service remit, it didn’t produce its own programming, instead commissioning and purchasing material from independent production companies. It employed commissioning editors to nurture the various strands and genres of the channel’s output and made particular efforts to employ people outside the television industry who could bring new and non-traditional perspectives. This meant new voices and new talents, and a greater plurality of programming and representation, including minorities. Channel 4 still proclaims its role as a ‘disruptive, innovative force in UK Broadcasting’ (Channel4.com, accessed 3 December 2021). Channel 4 has been major contributor to the British cultural landscape of the last four decades.
Richard Rogers, later Lord Rogers of Riverside, (1933-2021) was born in Florence. He trained at the Architectural Association and Yale University before setting up the Team 4 practice with Norman Foster and others in 1962. Their house for his in-laws, Creekvean in Feock, Cornwall (1964-1967) was listed Grade II in 1998 and upgraded to Grade II* in 2002. Rogers subsequently formed an architectural practice with his then wife, Su Rogers, and from 1970-1977, worked with the Italian architect Renzo Piano. Their Pompidou Centre building in Paris, which opened in 1977, is a major landmark of the High-tech style. Richard Rogers Partnership was formed the same year, with John Young, a veteran team member from Team 4 days, as one of several partners. The Lloyd’s Building together with the Pompidou sealed an international reputation. Other major works by Rogers include: the European Court of Human Rights, Strasbourg (1989-1995), Terminal 4 at Barajas Airport in Madrid (2004), the National Assembly of Wales in Cardiff (2005) and Terminal 5 at Heathrow Airport (2008). Rogers won the RIBA Royal Gold Medal in 1985, was knighted in 1991 and was created Baron Rogers of Riverside in 1996. In 2007 the Richard Rogers Partnership was renamed Rogers Stirk Harbour and Partners to reflect the practice‘s succession plan.
Details
Once national, now regional, headquarters of Channel Four Television, including offices, post-production edit suites, restaurant, screening room and originally a studio. Built to designs by Richard Rogers Partnership (partner in charge, John Young),1992-1994. Structural engineers Ove Arup and Partners.
MATERIALS: the majority of the building has a reinforced concrete frame with metal and glass cladding. The conference rooms have a steel pin-jointed frame and the atrium frontage is of glass, suspended from above and held in tension by a steel cabling system devised by Arup.
PLAN: the building is L-shaped in plan, occupying the corner between Horseferry Road to the west and Chadwick Street to the north, with rectangular office wings fronting each road and a concave quadrant knuckle connecting the two and framing a small piazza facing the road junction. The building has four floors above a basement and lower-ground floor levels. To the rear are two terraces; one at ground-floor level, above the larger footprint of the two lower floors, and one at third floor, where the footprint of the central knuckle is set back from the floors below.
Each office wing has two internal service cores and externally-expressed stair towers at each end. There is a lift tower at the far end of the Chadwick Street wing and three wall-climber lifts facing Horseferry Road, adjacent to the piazza. The basement level is given over to plant, storage, staff well-being facilities and edit suites. The lower-ground floor is a mixture of open-plan office space, meeting rooms and staff facilities; the main area of interest is the fan-shaped screening room with its circular foyer beneath the piazza, and stair connecting it to the atrium above. The ground floor contains the atrium reception area and large curved restaurant on a slightly lower level behind, overlooking the garden; the office blocks are given over to open-plan work space and a loading bay. First, second and third floors are mainly open-plan work space, with some meeting rooms and private offices as well. Key aspects of the building’s layout are original, including the screening room and foyer, reception atrium and restaurant. There has been reconfiguration in other parts, in particular the flooring-over of the studio, reconfiguration of the editing-suites and the removal of rows of perimeter offices.
EXTERIOR: the building’s key aspect faces onto the Horseferry Road/ Chadwick Street junction. The ends of the office wings are pulled back from the corner and the piazza is framed by a High-tech composition of glass and graphite-coloured steel, aluminium and cladding panels, punctuated by vertical flashes of red-painted structural steelwork. The full-height, concave, structural glass wall of the atrium is at the centre, suspended from above by a steel frame. Flanking it to either side are radiused stair towers. The stair towers have bands of glazing following the line of the stair within, almost uninterrupted by vertical supports because the cladding is supported internally on rods hung from above. To the left is a stack of conference rooms with glazed end walls, elevated and supported by a red pin-jointed steel frame. To the right is a stack of glazed lift lobbies serving a bank of three external ‘wall-climber’ lifts running along red steelwork; above are boxed-out service elements and a quasi-Constructivist transmission tower, creating a strong vertical element in the composition. Boiler flues add further interest to the roofline.
The piazza has shallow steps and flanking ramps which lead to a circular space immediately in front of the building. The centre of this is occupied by a circular skylight lighting the foyer of the screening room below; a bridge sheltered by a glass canopy stretches across it to a pair of revolving entrance doors. The sculpture, ‘the big 4’* stands towards the front edge of the piazza.
The office wings are clad with glazed panels of powder-coated aluminium, at ground floor these are set back behind the exposed concrete posts of the building’s frame, and above they are jettied out slightly, meeting at the corners with narrow, vertical, fully-glazed units. The panels each have four rebated horizontal glazed units divided by a fin-like transom, the lowest unit also having a band of sunscreen steel mesh in front. The floor plates are faced with panelled steel units. The facing components meet with a narrow shadow gap and the overall effect is of a modelled grid with a horizontal emphasis. The rear elevations, both to the office wings and the convexly curved knuckle, follow this aesthetic.
INTERIOR: the atrium is the building’s key public-facing interior space. The curved, full-height glazed wall is held in tension by a complex network of steel cables and suspended from above by exposed red steelwork. Set back from the wall, and above the ground-floor reception area, are curved cantilevered walkways at each floor, open to the atrium and floored in concrete panels set with circular glass blocks; behind, offices are enclosed by glazed walls.
Behind the reception, at a slightly lower level, is the staff restaurant. This has been refurbished a number of times but retains its distinctive fan shape, exposed concrete ceiling and glazed walls looking out onto the terrace.
The screening room, beneath the piazza, has a fan-shaped auditorium and circular foyer. Both spaces have been refurbished but retain perforated steel acoustic panelling and exposed concrete structural elements. The walls of the anti-room are hung with a chain curtain and the space is lit from above by the circular skylight in the piazza pavement; the glazing is held in a steel, umbrella-like structure. A concrete stair with steel balustrade leads from the foyer up to the atrium above.
The stairs in the four towers are dog-legged, red with stainless steel tubular balustrades; the treads and risers are of folded steel, supported at the half landings by flanged I-beam newels.
The interior most relevant to the building’s special interest are addressed in the paragraphs above. Throughout the rest of the building, the smooth round concrete posts and other concrete structural elements are visible, but spaces have been reconfigured and refurbished to suit operational needs.
* Pursuant to s1 (5A) of the Planning (Listed Buildings and Conservation Areas) Act 1990 (‘the Act’) it is declared that ‘the big 4’ sculpture on the building’s piazza is not of special architectural or historic interest, however any works which have the potential to affect the character of the listed building as a building of special architectural or historic interest may still require LBC and this is a matter for the LPA to determine.
Canon EOS Film camera with Ilford FP4 film and Canon 50mm F1.4 lens .
Developed in Ilfosol 3 (1:14) for 9.30 minutes
Bit short of uploads at the moment, this is a shot from a few months back.
I do love this building, it is made up of rusty coloured panels and was voted the best tall building in the world for 2010
Permission granted for journalism outlets and educational purposes. Not for commercial use. Must be credited. Photo courtesy of South Dakota Public Broadcasting. ©2022 SDPB | Tim Tushla
Broadcasting House - the Headquarters of the BBC (the British Broadcasting Corporation) -in Portland Place, London - painted by Stephen B Whatley in September 1992.
One of a series of the artist's architectural paintings that he uniquely paints on location, this painting was purchased by the BBC months after its completion; one of 5 architectural paintings by Stephen B Whatley that the Corporation has in its collection.
The BBC also acquired Stephen's paintings of 'Bush House - Tribute to 60 Years of The BBC World Service' (1992) and BBC Television Centre (1994); before going on to commission two BBC interiors from the artist in 2001: 'The BBC Radio Theatre' (which is situated in Broadcasting House) and 'The Top Of The Pops Studio' (painted on location at BBC Television Centre, during rehearsals & filming of the music programme).
BBC Broadcasting House. 1992 by Stephen B Whatley
Oil on canvas
30 x 24in/76 x 61cm
Collection of BBC Heritage, London, UK
World's first high definition television broadcasting station ( BBC ) Alexandra Palace, London N.
link to the original post from 2014
londondada.art/2014/01/27/london-dada-work-no-688-where-t...
An interesting interior view of the BBC's first home in Leeds and a building they themselves vacated in the early years of the 20th Century after which is was remodelled by architects Fielden Clegg. The actual building, now known as Old Broadcasting House, was origianlly a Friends Meeting House (for the Quakers) and had been constructed in 1866-68 and designed by Edward Birchall. The BBC must have acquired it as they strengthened their regional presence in the 1920s and '30s as this image dates from c1933/4 and shows the work undertaken by the Leeds based architect John C Proctor.
It is suitably 'modernist' as was the case in London's Broadcasting House of 1930/32 and has obviously been designed, understandably, with acoustics in mind. Otherwise, as suited radio broadcasting at the time, it has elements of a well heeled drawing room of the period with very fine chairs and matching furniture to allow broadcasters and artists to sit, rest and read! No doubt this interior was, in turn, much modified in BBC days especially with the introduction of TV broadcasting but it is a glimpse into radio history when the medium was 'new' and 'important' as seen it its design and architecture.
This corridor is outside the main performance halls in the old recording and broadcasting studios of the former GDR. This site continues to be used by rockstars and world class orchestras as a premier recording venue. The entire complex is in sad disrepair.
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