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Interview with Geoffrey Baker October 1993/March 1997 (continued) |
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GHB: As you move in through the gateway, you turn right, and you’ve collected together a series of symbols. There’s the arch as you enter, there’s the cone-shaped hat that you’ve just talked about, then there’s the tower. There seemed to be evocations of Italian hill towns or whatever, where objects of this kind are brought together. Recently, I was in Prague, and there are so many views there where a lot of things crash together: sculptural shapes, gateways and towers collide. You’ve compacted these kinds of forms. Then, as you come through the vault, you start to use the other V-shaped device, which points ultimately out towards the mountains. The vault and the planes come together at entry. The plane of the V-shape slices through the vault. You can move to the right or left, but there is a point when everything comes together. The space is then expanding around you and it seemed to me to be very interesting because although the wedge shape is pointing to the north, you can turn round and it leads you off into other directions behind you, one of which is the main courtyard. This is serene, and I think elegant. The other direction is the corridor that leads towards the little hat, where there is another courtyard. So there are two different experiences of the courtyard, somehow controlled by the wedge that you introduce. I think that’s a powerful spatial and volumetric conjunction that you presumably were well aware of when you did it.
GHB:
I think one of the things I was very conscious of in relation to what
you’ve said, is that this is a very simple L-shaped plan, dramatised
by this directional thrust; and I’m also reminded as you’re
talking, of the way the two main parts are connected to each other by
the vault that contains and celebrates the children’s library. The
wedge shape surges through the middle but the vault nails everything down,
in a way that enhances the ensemble. |
I was thinking how this becomes a theme, that doesn’t have to be socked to us all the time, but is there in a gentle way so that as you move through the building the theme recurs. The wedge shape recurs when you come out at roof level and you see the pointed thrust going out into the landscape; and in the Children’s Library obliques intervene within the vault in the suspended light fittings. All this is done in a rather gentle way, but we know that the theme itself has to be strong enough in its origins, and this is what you were alluding to by mentioning the intersection of routes and so on. This has to do with content and the way you see the programme. If this response is superficial we’ll know that very quickly. If, on the contrary, the meanings intended have deeper implications, we’ll understand this subliminally. I felt, for example, that the courtyards in the building are very important both symbolically and as a means of articulating the parts. They’re the spaces between, but they help the parts to be themselves so that the wedge idea can be sustained. So I dare say you are always conscious that you need a strong theme, which you have in the library, and then you work around that. Is that the case?
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ESSAY BY CHRISTOPHER MEAD | ESSAY BY ANTOINE PREDOCK | 1 2 3 4 5 6 7 8 9 10 | |
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