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Showing posts with label riba. Show all posts
Showing posts with label riba. Show all posts

Monday, 27 March 2017

Discover & explore: Lanning Roper




Today's Discover & explore service at St Stephen Walbrook, explored the theme of gardening through the life and work of Lanning Roper. The service was led by Sally Muggeridge and featured the Choral Scholars of St Martin-in-the-Fields singing Jesus Christ the apple tree by Elizabeth Poston, To Daffodils (from Flower Songs) by Benjamin Britten, There is a flower by John Rutter and Little Elegy by Stephen Paulus. At the end of the service we all went to view the memorial inscription for Lanning Roper in the courtyard garden.

The next Discover & explore service is on Monday 3 April at 1.10pm when, together with the Choral Scholars, I will explore the theme of art through the life and work of Patrick Heron.

In today's service we heard the following passage by Lanning Roper from On Gardens and Gardening (1969):

"As a landscape consultant, I have advised on gardens in various parts of the world, on soils ranging from rocky slopes, to acid peaty bogs, and rich fertile valleys. Some are large country gardens, others small back gardens in urban areas, and I have also advised on the planting of town squares, as well as on hospital gardens and housing estates.

Rose gardens, mixed borders, formal parterres, paved herb-gardens and shrub and woodland gardens have all absorbed my interest in turn. I have made it a rule to select personally the plants for my designs, and whenever possible I supervise the planting and often do a great deal of it myself. In this way I get to know the problems and the merits of the soil with which I work and keep in touch with new plants.

As a garden designer, I experience some of the same emotions as a nanny. Having made a garden, I always want to follow its development to maturity. If I plant an avenue of oaks or chestnuts, the well-being of each individual tree is my concern, as well as the avenue as a whole. The excitement of creating and planning for the future is both stimulating and very satisfying."

Sally Muggeridge also mentioned Mies van der Rohe's unrealised Mansion House Square project, which would have featured a planting scheme by Roper, and which is currently being explored in Circling the Square, an exhibition at RIBA. Commissioned by architectural patron and developer Lord Peter Palumbo, Mies van der Rohe designed his proposal for Mansion House Square at the very end of his career, between 1962 and his death in 1969. After a protracted planning process, the scheme was finally rejected in 1985.

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OMD - Architecture & Morality.

Sunday, 26 February 2017

Sacred Geometries and Circling the Square


St Stephen Walbrook features in two exhibitions during March. Sacred Geometries at Anise Gallery features the first time screening of Paul Raftery and Dan Lowe's latest film of St Stephen Walbrook, while, for Circling the Square, we have loaned our architectural model of St Stephen Walbrook to a RIBA exhibition exploring Mies van der Rohe's unrealised Mansion House Square project, alongside its built successor James Stirling Michael Wilford & Associates' No. 1 Poultry.

Inspired by trends in contemporary photography and the diverse writings of Plato, author Robert Lawlor and architectural historian Peg Rawes, Anise Gallery is marking its fifth birthday with an exhibition of photography based on themes found in the sacred geometries.

Geometry in aesthetics are unavoidable when traversing through the city, whether this is in grand scale such as skyscraper architecture, to the tiny backs of ladybirds. Intricate design can be located in both complex, constructed design patterns and in the minute details in nature. Aesthetics and mathematics come together in geometry, and have done since ancient Egypt, where geometrics were viewed as a visual manifestation of law and order. Later in ancient Greece, they had sacred and scientific properties in helping to solve earthly mysteries.

Through the curation of an exhibition of film from Paul Raftery and Dan Lowe, and photography by Dennis Gilbert, Doublespace, Fernando Guerra, Hélène Binet, Hufton and Crow and Jim Stephenson, Anise Gallery hope to inspire and instigate a conversation surrounding Sacred Geometries (9 March - 15 April). In collaboration with Miniclick an evening of short talks and discussion will take place on 6 April 2017.

Mies Van Der Rohe and James Stirling: Circling the Square is at The Royal Institute of British Architects (RIBA) from March 8 – June 25 2017. The exhibition is open Monday - Sunday 10am to 5pm and Tuesdays 10am to 8pm.

The exhibition sees the projects presented together for the first time, offering a unique opportunity to trace the continuity in purpose and approach that unites two seemingly dissimilar architectural creations.

Commissioned by architectural patron and developer Lord Peter Palumbo, Mies van der Rohe designed his proposal for Mansion House Square at the very end of his career, between 1962 and his death in 1969. After a protracted planning process, the scheme was finally rejected in 1985. Lord Palumbo then approached James Stirling, to conceive an alternative vision for the site. James Stirling, Michael Wilford & Associates' No. 1 Poultry was completed in 1997, two years after Stirling’s untimely death. It is often cited as a masterpiece of the post-international style and has recently been awarded Grade II* listed status; while it still divides opinion, the building was designed with an acute understanding of both its historic surroundings and Mies's earlier design.

The exhibition features newly restored models and materials about the Mies' scheme on loan to the RIBA by Lord Palumbo, along with significant items from the No. 1 Poultry archive.

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Pierce Pettis - Gravity & Grace.

Wednesday, 10 February 2016

Stations of the Cross: Epstein & Gill





Station ​Six, Veronica wipes the face of Jesus in the Stations of the Cross 2016 exhibition is Jacob Epstein's Madonna and Child, 1950-52 at Cavendish Square. This seems an odd choice as this is not a sculpture of Veronica or her veil. However, as my final photograph above show Christ's face is seen against fabric (which does, therefore, imply an equation of sorts to the image of Christ on Veronica's veil).   

The website description for this Station runs as follows: "According to legend, Veronica knelt beside Jesus as he struggled with the cross. After wiping the blood, sweat, and grime from his face her cloth bore the miraculous imprint of Jesus’ face. While Veronica isn’t pictured, Epstein’s Madonna and Child looks unblinkingly towards the events of the Passion. Jesus’ outstretched arms form a cross, while the fabric which surrounds him suggests Veronica’s Sudarium. The garments of the two figures stretch across their bodies like bandages. Maybe it is up to the viewer to play the role of Veronica, lifting a cloth to tend to mother and son. Perhaps Epstein was inspired by the Convent of the Holy Child Jesus, for whom he created this sculpture; or maybe the Royal College of Nursing, which sits at the corner of Cavendish square. He didn’t need to look far to find examples of women prepared to come to the aid of the wounded."

When visiting this Station, it is only a short detour to Broadcasting House with its sculptures by Eric Gill and to RIBA and its Architecture Gallery where the current exhibition has significant death and resurrection resonances being entitled Creation from Catastrophe. One of Gill's Stations of the Cross panels at Westminster Cathedral is included in Stations of the Cross 2016.

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Julie Miller - How Could You Say No?

Monday, 1 February 2016

Discover & explore: Hope


The first in a new series of Discover & explore services was held at St Stephen Walbrook today. These services, which feature the Choral Scholars of St Martin-in-the-Fields, explore their themes through a thoughtful mix of music, prayers, readings and reflections. Themes for the current series are based on Eric Whitacre's anthem 'Hope, Faith, Life, Love' and, as a result, this series of musical discovery explores the themes of hope, faith , life, love, dreams, joy, truth and soul.

Today's theme was Hope. Next week (Monday 8th February, 1.10pm) we will explore the theme of Faith in a service led by Revd Sally Muggeridge.

Here is the liturgy and reflection from today's service:

Opening responses

Truly the eye of the Lord is on those who fear him, on those who hope in his steadfast love. (Psalm 33:18)
Let your steadfast love, O Lord, be upon us, even as we hope in you. (Psalm 33:22)
For God alone my soul waits in silence, for my hope is from him. (Psalm 62:5)

Happy are those whose help is the God of Jacob, whose hope is in the Lord their God. (Psalm 146:5)

Reflection

Five sixths of the medieval part of the city of London, including 13,000 houses and 84 churches, were destroyed by the Great Fire of London that lasted 4 days in total. This was a disaster zone where everything was lost and people were in despair. Where is hope to be found in such a situation?

Of course, we know what happened. King Charles II invited architects, surveyors and engineers to present alternative plans. Although many of his plans were unrealised, Christopher Wren and others then rebuilt the City in a new way using better materials.

This is the starting point for an exhibition at the Royal Institute of British Architects entitled Creation from Catastrophe: How architecture rebuilds communities, which explores the varying ways that cities and communities have been re-imagined in the aftermath of natural or man-made disasters.

Disasters are frequent occurrences, “some natural, many more due to man’s ham-fisted neglect of the planet or our inability to get by without recourse to violence.” “The result is always the need for a new start, and how we respond and rebuild colours an uncertain future more than ever. Yet, for all the carnage and chaos that catastrophes bring, an odd truth is apparent: disasters do give us the chance to shape things differently.”

As a result, as Terry Eagleton writes in Hope without Optimism, “the most authentic hope is whatever can be salvaged, stripped of guarantees from a general dissolution.” It is whatever survives a general ruin. This is where we find the writer of Lamentations; bowed down with the reality of exile, yet trusting that it is in the nature of God to bring a new beginning from this disastrous affliction which is “wormwood and gall” to him. Similarly, Emily Dickinson claims that, hope is heard most sweetly in the Gale, “the chillest land” and “on the strangest Sea”.

The Palestinian poet Mourid Barghouti, reflecting on the Arab Spring, recently wrote: “Today, many see “hope” and “optimism” as obscene words.” Nevertheless he still finds “reasons to feel encouraged” despite the fact that, “the physical causes of the revolution on 25 January 2011 – corruption, tyranny and poverty – still exist, and have an uglier face.” In fact, the situation is so dire, he says, “that it is not sustainable; the revolution is still possible because nothing else is.”

Eagleton finds hope in the same place. Hope, he writes, “is to be found in the unfinished nature of the actual, discernible as a hollow at its heart.” “Potentiality is what articulates the present with the future, and thus lays down the material infrastructure of hope.” Hope is about a vision for a future that is different from the present; one which therefore requires imagination and vision. For Christians that vision is of the kingdom of God; which has begun to be realised but is still to come in its full reality.

As a result, in Theology of Hope Jurgen Moltmann argues that “Those who hope in Christ can no longer put up with reality as it is, but begin to suffer under it, to contradict it. Peace with God means conflict with the world, for the goad of the promised future stabs inexorably into the flesh of every unfulfilled present. If we had before our eyes only what we see, then we should cheerfully or reluctantly reconcile ourselves with things as they happen to be. That we do not reconcile ourselves, that there is no pleasant harmony between us and reality, is due to our unquenchable hope. This hope keeps man unreconciled, until the great day of the fulfillment of all the promises of God.

The Church, then, is intended to be “the source of continual new impulses towards the realization of righteousness, freedom and humanity here in the light of the promised future that is to come.” Our hope should “provide inexhaustible resources for the creative, inventive imagination of love.” It should constantly provoke and produce thinking of an anticipatory kind in love to humanity and the world, “in order to give shape to the newly dawning possibilities in the light of the promised future, in order as far as possible to create here the best that is possible, because what is promised is within the bounds of possibility.” “Thus it will constantly arouse the ‘passion for the possible’, inventiveness and elasticity in self-transformation, in breaking with the old and coming to terms with the new.” The Christian hope should always have “a revolutionary effect in this sense on the intellectual history of the society affected by it.”

“Wherever that happens, Christianity embraces its true nature and becomes a witness of the future of Christ.”

Intercessions


We pray for all those currently experiencing natural or man-made disasters and for whom life is wormwood and gall. By living all the way through these experiences of vulnerability may they find their way to a place of new beginning in which power can be plucked from weakness and life made fruitful once again. Lord, in your mercy, hear our prayer.

May we find in the unfinished nature of the present, a vision of a better future; a vision of the kingdom of God. Give us the imagination and vision we need to shape things differently and rebuild colours in an uncertain future. Lord, in your mercy, hear our prayer.

May your Church be a source of continual new impulses towards the realization of righteousness, freedom and humanity here in the light of the promised future that is to come. May we see the inexhaustible resources for the creative, inventive imagination of love that hope in you provides. Constantly arouse in us a ‘passion for the possible’, inventiveness and elasticity in self-transformation, by breaking with the old and coming to terms with the new. May this hope continue to have a revolutionary effect on the intellectual history of our society. Lord, in your mercy, hear our prayer.

Blessing

Places of new beginning, power plucked from weakness, life made fruitful once again, the realization of righteousness, freedom and humanity, resources for the creative, inventive imagination of love, visions of a better future, visions of the kingdom of God; and may those blessings of God almighty, the Father, the Son, and the Holy Spirit, be among you and remain with you always. Amen.

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Bob Chilcott - Even Such Is Time.