Welcome to the second episode of our new format podcast – Architecture Masters at Home.
In this episode LFA Director Tamsie Thomson and LFA Deputy Director Owen Wainhouse discuss this year’s festival theme of ‘power’ and how it relates to architecture – particularly in our new world of working from home.
Every year the London Festival of Architecture takes a different theme to inspire its vast programme of public events. You can read more about our theme announcement here as well as a range of views on our theme in the LFA’s Views pages.
From our homes to yours. Welcome to our new format festival podcast – ‘Architecture Masters at Home’. Whilst we all get accustomed to working from home, we wanted to bring you some insight from the festival and our key partners as we look at how the wider architecture sector adapts to working in different ways – and spending much more time at home.
This is the first in a series of shorter and much more frequent podcasts as we talk to architecture masters at home.
For our first episode we’re joined by Director of the LFA, Tamsie Thomson, to talk about running festivals in a world where people have to stay at home.
We talk about being nimble, supporting our profession and some of the exciting plans that our community have lined-up for the festival.
On the programme this week is the designer Paul Priestman.
Paul started his business designing the packaging for Boots’ Number 7 cosmetics. Some 30 years later PriestmanGoode, the firm he started along with Nigel Goode, has become the go-to firm responsible for designing many of the seats, aircraft cabins, carriages, berths, beds, hotel rooms and spaces we inhabit when we travel.
Paul studied Industrial Design in London, first at Central St Martins and later the Royal College of Art. On the back of a competition win, he started Paul Priestman Design, which later became Priestman Associates and then PriestmanGoode in 1989.
The firm became hugely influential in the travel sector, with their acclaimed work for much, if not most, of the sector’s leading brands – from Virgin Atlantic to Air France; Austrian Railways to Transport for London; Accor Hotels to Yotel.
Many of PriestmanGoode’s projects including their speculative proposal for moving train platforms to their commissioned New Tube for London have helped propel them into the public consciousness. PriestmanGoode’s latest exhibition Get Onboard: Reduce. Reuse. Rethink at London’s Design Museum (until 1st March 2020) has reached a huge audience, helping us examine the waste that we generate when we travel and question how design can help us create more environmentally friendly products and processes for the travel industry.
When Patrik joined the practice in 1988, Zaha Hadid had just four other employees, based out of a couple of rooms in a converted Victorian school on Bowling Green Lane in Clerkenwell.
And the practice had no built work to its name, but Zaha was beginning to attract some public attention for her avant-garde designs, particularly following her inclusion in the Deconstructivist Architecture exhibition at MOMA in New York in 1988, along with now fellow household names Rem Koolhaus and Frank Ghery,
Patrick was born in West Germany and originally studied Mathematics and Philosophy at the University of Bonn, where he was influenced heavily by the work of Austrian philosopher Ludwig Wittgenstein.
It was later that he studied Architecture at the University of Stuttgart before continuing his studies at the Southbank Polytechnic (now London South Bank University) as part of an exchange programme.
After joining the practice Patrik quickly became one of Zaha’s most trusted confidants and friends, working on many of the practice’s major projects. As the practice grew Patrik became increasingly influential as a senior partner and co-leader of the practice.
Zaha Hadid died in March 2016 leaving Patrik as Principal of the 400-plus person practice that still bears her name.
I joined Patrik in the practice’s offices in Clerkenwell, where he started some 30 years ago. We talked about politics, working long hours, having a thick skin, and the future of the practice.
We also talk about the benefits of writing and the process of quantifying the practice’s ideas and lending written words to the often oral arguments that went on at the time. And we talk about Patrick coining the term parametricism.
And then we talk about how teaching can help a practice rejuvenate and reinterpret its ideas.
Our guest this week is Deborah Saunt, co-founder of the architecture practice DSDHA.
Deborah was born in Australia but moved as a child to the UK via a brief stint in Kenya. It was in Scotland that she first studied architecture at Edinburgh College of Art. She later studied via a scholarship at the University of Kansas in the USA, and then at Cambridge University back in the UK.
Deborah completed her PhD thesis in 2013 as part of the Practice Research programme at RMIT in Melbourne, Australia. And teaching remains a large part of her work, as she helped to co-found the London School of Architecture with the school’s first intake in 2015.
On the programme this week our guest is Hattie Hartman, Sustainability Editor at the Architects’ Journal.
The Architects’ Journal was founded in 1895 as The Builder’s Journal and Architectural Record, before being taking its current name in 1919. Some 100 years later the journal still remains one of the profession’s most respected and widely read publications.
But our guest didn’t start out as a journalist. Hattie first studied Fine Arts and Architectural History at Harvard University and then went on to study Architecture and Urban Planning at the Massachusetts Institute of Technology.
After graduating – and a crash course in Portuguese – she moved to Brasilia where she worked in the Department of Public Works.
She later returned to the US and qualified as an architect whilst working at a small practice in Washington DC.
In 1991 she moved to London and soon after started work at Hunt Thompson Associates, the practice that later formed HTA Design and John Thompson and Partners.
An opportunity to interview Oscar Niemeyer in Rio de Janeiro sparked an eventual career change to journalism.
In 2006, Hattie landed the job of Technical Editor for the Architects Journal, later going on to create the new post of Sustainability Editor – a position she’s now held for over ten years.
Piers was born in Brighton in the south of England and in 1965 began his studies at the Architectural Association in London – studying under Peter Cook (of Archigram frame) and Elia Zenghelis (who when on to co-found the Office of Metropolitan Architecture).
It was at the AA that Piers studied with Nick Campbell, Roger Zogolovitch and Rex Wilkinson – and from where the four started their practice in the university’s basement studio space.
In 1975 they formalised the practice as Campbell Zogolovitch Wilkinson Gough Architects – now known as CZWG Architects. The practice has made a name for themselves through a huge range of bold, often playful postmodernist work. Indeed in 2018 six of CZWG’s early works from the 1980s were listed by Historic England for their significance to the UK’s postmodernist movement.
In 1978 Peter Clegg and Richard Feilden founded their practice as Feilden Clegg Design in Bath in the west of England. Keith Bradley subsequently joined the practice in 1987.
It wasn’t until 1998 – some 20 years after their founding – that the practice opened a London office – where the they now employ around 80 people. More recently the practice has opened studios in Belfast and Manchester, but remains headquartered in Bath.
In 2000 the practice changed name to Feilden Clegg Bradley Architects – in recognition of Keith Bradley’s contribution – later going on to become Feilden Clegg Bradley Studios or FCB Studios
The practice’s co-founder Richard Feilden died in a tragic accident in 2005 aged just 54. FCB Studios helped setup the Richard Feilden Foundation in his honour.
Our guest this week is the managing director of the architectural recruitment firm Adrem.
Del Hossain was born and grew up in Manchester before moving to London to study architecture – first at London South Bank University and then at the Bartlett School of Architecture.
After working at a number of practices including Orms and Foster + Partners he left to briefly setup his own architecture firm with his wife. The work quickly came in – but so too did the realisation that practicing as an architect wasn’t for him.
From there, in 1998, he joined Adrem, the UK’s first specialist architectural recruitment firm, where he remains managing director.
Our guest this week is the architect Kirsten Lees, Managing Partner at Grimshaw Architects.
Kirsten was elected as the London studio’s first female Managing Partner in May 2018. In a somewhat unique arrangement Grimshaw’s Managing Partner is elected by the studio’s nine Partners for a three year term, renewable once, helping to balance renewal and stability in the practice’s senior leadership.
Kirsten was born in Scotland and studied architecture at the University of Glasgow before taking a year out to work in Spain. She later worked for the Practice Bach y Mora Arquitectos before returning to the UK to work for Michael Wilford and Associates, and then going on to join Grimshaw in 1997.
Grimshaw was founded in 1980 by Sir Nicholas Grimshaw and the practice has gone on to build a huge range of iconic buildings including the Eden Project, the National Space centre in Leicester and the former Eurostar Terminal at Waterloo in London. Indeed the practice maintains a strong reputation for its legacy of transport and infrastructure buildings.
As well as her Managing Partner role, Kirsten continues to work on a number of projects across the arts, sports and masterplanning – areas of work the practice are keen to expand on.
The practice has undergone a huge internationalisation – with projects and offices in New York, Doha, Dubai, Kuala Lumpur, Melbourne, Sydney and of course in London.