Double win at the RIAS 2017 Awards
Celebrating the best in new Scottish architecture, both
Eastwood Health and Care Centre, and Rockvilla - the new HQ for the National
Theatre of Scotland - have won Royal Incorporation of Architects in Scotland
awards. We are delighted to be the only practice with two
projects among the twelve inspiring buildings given RIAS awards
This follows the news earlier in the week that Eastwood Health
& Care Centre won the design award for best building under 25,000sqm at the European Health Care Awards in London. Caroline Bamforth, East Renfrewshire Councillor and Chair of the East Renfrewshire Integrated Joint Board, said: ‘It is a fantastic state-of-the-art facility, bringing
together health and social care services under the one roof for the first time
in Eastwood. The busy community café on the ground floor also makes it a great
community hub for local people.’
These awards bring recognition to not only to those in the
project team, but also our wonderful clients. Simon Sharkey, associate director (Learn) at the National Theatre of Scotland spoke of his experience now working in their new purpose-built space: ‘The luxury of being able to walk a few yards to have a vital conversation with your colleagues cannot be underestimated. The impact of the building and how it allows us to work makes me wonder how we managed before. Seeing our students, community members and professionals all share the same space, finding out about each other’s projects and all feeling
part of the same thing is simply joyful.’
These great buildings are the result of much hard work and
belief of many individuals, and we would like to thank everyone involved for their continued support and enthusiasm throughout the process of bringing them both to very successful completion.
More about the projects can be found via the following links:
Eastwood Health and Care Centre
Rockvilla - National Theatre of Scotland HQ
Easterhouse public charrette 13 May – 24 June
Over the next few weeks we are teaming up with Thriving Places Easterhouse and landscape architects, Erz, to run a community design programme to plan a better centre for Easterhouse.
The project seeks to identify major improvements required to both the Shandwick Centre and the surrounding facilities. The ambition is to create an overall better environment, and increase the activities available to the community – plus anything else the public think needs to happen.
From now until 12 June, the team will be in the old Savers unit in the Shandwick Centre on Tuesdays, Wednesdays, and Saturdays. Everyone is welcome to come in, hear more about the project, and tell us your thoughts over a cup of tea. Free events will be run, including portrait drawing, photography workshops, and pop-up music and film studios. Family and kids activities will be run on Saturdays.
Following on from this, between 21 June - 23 June, we will have a busy programme of events in the Phoenix Centre, and welcome the public to attend and give input.
Keep an eye on Thriving Places Easterhouse’s Facebook page for news and regular updates.
Portraits taken by Colin Tennant featuring some of the locals who came by to share their thoughts.
19 May, 2017
Architectural Staff Required
Part I Architectural Assistant
Part II Graduate Architectural Assistant
Experienced PT III / Recently Qualified Architect
Hoskins Architects are looking for enthusiastic and experienced applicants to join our Glasgow studio, initially for a fixed term contract.
Successful applicants will work alongside project architects and the wider management team on a number of high profile projects.
Our practice is a busy and creative environment with an award winning portfolio of projects across a whole range of sectors. We’re looking for the right people to help us build on that success by joining our talented teams working on recent new project wins and our existing varied workload.
We look for people who are articulate, curious, creative and interested in design. We want good designers, good communicators and people who want to contribute. The ability to sketch beautifully and/or produce top quality visuals is a must. We are looking for people who enjoy working in a team and relish a challenge. The office uses Vectorworks, Sketch-up and Photoshop and a knowledge of this would be an advantage but not essential. For PT II/Architect positions experience of producing tender and construction drawing packages would be advantageous.
Our office is fast paced, friendly, focused and fun. It’s a great place to start and grow your architectural career. Salary based on industry average.
Hoskins Architects is an equal opportunities employer. No agencies please.
Closing date 8th May 2017.
Noting the position you are applying for in the email title please email your CV and examples of work to: email@example.com
Successful applicants will be invited for interview and required to present their portfolio.
Visiting Florim’s ceramic tile factory in Italy
Last year architect Kirsten Stewart was invited by Ora Ceramics to visit the Florim headquarters and factory in Modena, Italy. It was an insightful trip, rewarding her with a detailed understanding of the product and manufacturing processes. Kirsten gave a presentation on what she learnt, allowing us all to better understand the journey from dust to tile.
Modena, Italy, is an area renown for tile manufacturing with some 300 different companies based there - Florim is one of the largest ceramic tile factories in this area.
They offer tiles for a variety of uses, projects and markets. The largest tile they produce is the magnum wall and floor tile, which is available in an extremely large format with sizes up to 1600 x 3200mm - huge! During our visit the Florim team demonstrated how this tile size is handled, which is similar to large sheets of glazing, with four men required to lift the tiles in to place.
Having seen bicycles parked all around the factory, we were amused to discover that because the factory is so large, the team ride them to get from one side of the factory to the other.
All the water used in the factory is recycled, cleaned, and reused on site. The majority of the factory processes are carried out by machines and robots, which transport materials around the factory; except the last process – the visual inspection – which can only be done by human eye in order to check for imperfections on each tile. Those carrying out this job are only able to do so for 30 minutes at a time, before they have to switch and take a break.
The impressive vertical warehouse used for storing tiles ahead of transportation, cost 14 million euros to build, and stores 35,000 palettes at any one time – which is however, only a relatively small part of the factory.
The Garden of Playfulness at Brodie Castle wins planning approval
Moray Council have granted planning permission to the ‘Garden of Playfulness’. The project is part of a £2.8 million investment in one of the National Trust for Scotland’s ‘priority properties’ – Brodie Castle.
The castle, near Forres in Morayshire, was the ancestral home of the Brodie family until Ninian, 25th Brodie of Brodie, negotiated the takeover of the estate by the National Trust for Scotland in 1980. Now it has been earmarked for a transformation to make it a key visitor attraction to support Scotland’s heritage.
Hoskins Architects have collaborated with erz, landscape architects, to create a landscaped space for exploration and adventure within Brodie’s walled garden, based on themes of family and play. To realise the National Trust for Scotland’s ambitions, the garden will be supported by a Visitor Pavilion, which will also act as the main entrance to the Garden of Playfulness. This will act as a gateway to the estate for visitors, and provide retail, catering and indoor play spaces. The design is intended for year-round use, and to support special events or exhibitions as necessary.
Site works are due to commence during spring.
As part of our internal Continuing Personal Development (CPD)
As part of our internal Continuing Personal Development (CPD) sessions, Architectural Assistant Joanna Lee gave an insightful 60-minute talk on UK power stations. Following her thoughtful comment on the architecture and the dramatic settings of some of the UK’s power stations, Joanna led us to reflect the use of the countless post-industrial buildings we in Glasgow are surrounded by.
The Buildings of Industry, by Joanna Lee
This topic was sparked by an ongoing debate on the preservation of building fabric – what do you keep? Are all building typologies equally important?
Coupled with an awareness that we are an architecture practice in Glasgow: a city characterised by its 19th Century industrial boom, which now presents many opportunities for the reuse of industrial buildings.
This is no less encouraged by an interest in the pervading trend for an industrial aesthetic; and that I was brought up by a power station-enthusiast father.
Part 1 – UK Power Stations
A coal-powered monster in Yorkshire. While it was not chosen for its
architectural merit, it is a personal choice, the power station my Dad worked at for years and a catalyst for this CPD.(IMAGE 1)
A brick cathedral to power production in London. A swansong before it is redeveloped. (IMAGE 2)
Trawsfynydd nuclear power station
Designed by Basil Spence with the moody breath-taking landscape of north
Wales as a backdrop. This decommissioned nuclear power station has an
impressively foreboding presence, and is surrounded by listed landscaping.
Perched on the coast by Southampton, this is a station with an extraordinary glazed boiler house and fantastical 1960s techno futuristic aesthetic. (IMAGE 4)
Operational since 1930, this northern Scottish Hydroelectric power station shows the long life of the renewable station, compared to the other fossil fuel examples selected. This building is joyful in its readability. Large pipes shoot down the hill to the turbine building from which water flows into the loch below.
Part 2 - Industrial aesthetic
Lauriston, a district of Glasgow sitting across the River Clyde directlysouth the city centre, is an example post-industrial area of the city and proposed development. In this small area alone there are many large listed factory buildings left derelict, while new-build development inches towards them. Reusing these buildings is a challenge: they are vast, cold, decayed, and dictates that their redevelopment is economically viable, like Battersea Power Station in London? Should they be delisted and demolished? Or just left unprotected to be absorbed into the urban fabric?
In reality, what we keep and repair is a mixture of all of these things. A balance of cost, taste history, and nostalgia. However, in order to do this well you have to deduce what is of worth. While there are of course statutory guidelines, the positioning of hindsight seems to bear relevance when reflecting the industrial buildings of 20thCentury.
By going through typologies of factory buildings in decade increments to test my own feelings of attachment to these industrial buildings, I felt protecting those of the late 1950s to early 1960s to be my comfortable limit. I asked my colleagues the same question: did they want to preserve the 1980s Hoover Factory in Camberslang (PICTURE 5) as typical of this time? Or the giant Morrisons depot of the 2000s?
It seems that these feelings are trends, maybe in the future we will think that insulated panels have that bygone solid honest feel about them.
Has this nostalgic element been driving the popularity of the current industrial aesthetic? The desire of the office worker to be in an exposed-brick environment, and a longing to be closer to the making process. A good example is Google’s main UK office, which is set to be housed in the soon-to-be refurbished Battersea Power Station, symbolising its productive nature and stability.
To take this point full circle, larger companies and manufactures have picked up on this interest in process, presenting factory workings to the public in transparent, showcase buildings. Like Copenhagen’s Amager-Bakke
power plant (PICTURE 6, image credited to Bjarke Ingels Group), which is designed to demonstrate the consequence and pollution of power production to a wider population.