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2012 Olympic Park Proposal
2012 Olympic Park Proposal
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2012 Olympic Park Proposal
Graham Hudson with Foster +
Partners and Buro Happold“Everything
else in the park is being made for the legacy, only briefly hosting the games, the centerpiece stadium itself will
momentarily accommodate 80,000 people – and 20,000
in legacy. The piece we propose must be built with an atuned time structure, an appearance and function for the
games, but a legacy that can endure and grow for the future”. Graham
Hudson “Our proposal encapsulates legacy, it’s about this site
and these games – no time and no place
else. The team assembled is second to none, it has been our pleasure to collaborate on something I believe to be
truly original and ground breaking”. Norman Foster
Introduction
This concept for an Olympic Park visitor attraction is proposed
by a collaborative team that
combines visual art, architecture and engineering disciplines. Artist, Graham
Hudson has worked closely with Foster
+ Partners and Buro Happold to establish an outline for a commission that will celebrate the process
of building for the games, while creating a legacy
for the future of the site and a host for many things to come.
The
proposed structure is a system rather than a finite object. A continually
evolving organism, it is
brought to life by the people, the events, the communities and the organisations that inhabit it. Comprising a
series of hanging galleries and (sculpture) gardens,
it represents a sense of athletic fluidity – a reinterpretation of the gallery
and sculpture gardern into an infinite
series of project spaces – and a kinetic urban sanctuary, a refuge and delight for a broad community –
a public space for the 21st century.
Project Proposal
Industrial Heritage: “the Lower Lea Valley is described as
Britain’s best kept secret… it is of paramount importance that the area is
recognised in terms of its trail-blazing industrial heritage… London’s East End
has been at the centre of industrial invention, innovation and expertise for
centuries. The social history of engineering, craft and other skills should not
be lost, helping people link the commonplaces of everyday life with the
historical fabric of the area.”Museum of London Archaelogy
service
Our site visit to the Olympic Park was an exciting
revelation. We felt awed by the scale and magnitude of the construction effort
and we immediately sought to articulate this process – to represent this
exciting period of history that is about production, assembly and creation. We
were also struck by the 35 Olympic cranes and we began to think about their
lifespan, which continues after 2012. Like the park, itself, the cranes will
continue to build. While the park will build a new future for this part of the
city, the cranes will build new structures on different sites. We were also
inspired by the memory of the cranes that were in the East End Docks that have
now departed. They are a powerful metaphor of the decline, not only of the
docks, but also the manufacturing heritage of our Nation. The ones that remain
are loved and very symbolic but could perhaps be re-commissioned and built
again – if not literally, then metaphorically. The cranes symbolize this cycle
of use and re-use.
As the work on the site is
completed the cranes will be packed down and moved on to their next job. This
is how cities are built, and how London has existed since the Ancient Greeks
invented crane technology. The cranes that dictate the rising and falling
architecture of the city are a permanent yet temporal vista, always on the
move, always changing, but always there. The cranes as a concept never go, like
scaffold and road works they could be seen as a nuisance or an emblem of
progress. Where are the cranes now that built the Houses of Parliament? That
hauled together the British Museum? Might the Olympic Cranes, themselves,
become a part of London’s legacy?
The Olympic Park is the
most significant building project in Britain this millennium. The proposed
Olympic visitor attraction could become a monument to the building of this
site, to the building of history – and to the building of the future.
As the illustrations show,
our proposal is to pull a large number of the site cranes into the location for
the attraction. Here they will serve as a core structure for a rising series of
(sculpture) gardens into the sky. Possibly sponsored by individual
organisations, (as with the galleries of any major institution) each crane will
be active – making this sculpture functional and adaptable. Each of these
gardens will be accessible via arching ramps – also landscaped and green,
making access for both wheelchairs and the able bodied equal. Within these
gardens the individual elements can be picked up and moved like dolls house
objects by the towering cranes above, including public seating, sculptures,
performance stages and potentially the people themselvesConstruction
Cranes
are extremely efficient and strong structures, which can be used to lift, move
and assemble other structures. In this
case, a number of cranes and other components of temporary constructive
structures will be used to support floors, which will form floating gardens,
terraces and other facilities for the visitor. The public will experience the
cranes and have a panoramic view of the Olympic Park. The towers of the cranes will be used, in
conjunction with other steel and concrete structures to support the vertical
loads. Floors and terraces will be established by using primary steel trusses
spanning between main supports and cantilevering out from them to create the
desired artistic impression. A concrete deck will span the space between
secondary steel beams. Despite its size, the commission will be easy to build,
extend, adapt and eventually demolish and recycle.
Cost
The
cost of the structure will depend on the number and types of cranes, on the
sizes of the various gardens and on the facilities required by the client for
future community uses. Based on our conversation with some of the
constructors currently involved in the construction works for the Olympics, we
would expect to be able to buy a number of cranes and build a number of floors
with the budget currently allocated for this sculpture. – we have aimed to
represent this is accurately as possible in the design work provided.
Further
discussion will be required to select the types of cranes and to negotiate
their price. The overall construction
cost will depend on the development of the design and the design could be
tailored to the budget available.
Various methods to finance, or support the financial viability of the
scheme, could also be investigated in collaboration with the client.
This
proposed commission will adapt and evolve during its life and a larger number
of cranes could be part of it, as ‘invited spectators’, during the games
but removed after them when it evolves into something different. At this time
we understand a large amount of steel could become available as the Olympic
stadium is down-sized for legacy. The cost may therefore depend on the duration
of the various phases and the ‘games mode’ may only require hiring or borrowing
a number of cranes. Like the Olympic
athletes, many of the cranes will subsequently move to their next
challenge. The design of the commission
for the ‘legacy mode’ should address different needs and considerations about
future community uses. The current proposal is to explore the re-use of some of
the structures, which will be dismissed from other Olympic structures as an
additional heritage of the Olympic games.
Buro
Happold is currently involved in some of the Olympic projects and will assist
the artist in the development of a design that would take into account the
various engineering constraints of the site and possible re-use of temporary
structures. The design of this sculpture
will balance creativity, respect for the site, sustainable use of the resources
available and the future needs of the legacy mode.
Partners and Buro Happold“Everything
else in the park is being made for the legacy, only briefly hosting the games, the centerpiece stadium itself will
momentarily accommodate 80,000 people – and 20,000
in legacy. The piece we propose must be built with an atuned time structure, an appearance and function for the
games, but a legacy that can endure and grow for the future”. Graham
Hudson “Our proposal encapsulates legacy, it’s about this site
and these games – no time and no place
else. The team assembled is second to none, it has been our pleasure to collaborate on something I believe to be
truly original and ground breaking”. Norman Foster
Introduction
This concept for an Olympic Park visitor attraction is proposed
by a collaborative team that
combines visual art, architecture and engineering disciplines. Artist, Graham
Hudson has worked closely with Foster
+ Partners and Buro Happold to establish an outline for a commission that will celebrate the process
of building for the games, while creating a legacy
for the future of the site and a host for many things to come.
The
proposed structure is a system rather than a finite object. A continually
evolving organism, it is
brought to life by the people, the events, the communities and the organisations that inhabit it. Comprising a
series of hanging galleries and (sculpture) gardens,
it represents a sense of athletic fluidity – a reinterpretation of the gallery
and sculpture gardern into an infinite
series of project spaces – and a kinetic urban sanctuary, a refuge and delight for a broad community –
a public space for the 21st century.
Project Proposal
Industrial Heritage: “the Lower Lea Valley is described as
Britain’s best kept secret… it is of paramount importance that the area is
recognised in terms of its trail-blazing industrial heritage… London’s East End
has been at the centre of industrial invention, innovation and expertise for
centuries. The social history of engineering, craft and other skills should not
be lost, helping people link the commonplaces of everyday life with the
historical fabric of the area.”Museum of London Archaelogy
service
Our site visit to the Olympic Park was an exciting
revelation. We felt awed by the scale and magnitude of the construction effort
and we immediately sought to articulate this process – to represent this
exciting period of history that is about production, assembly and creation. We
were also struck by the 35 Olympic cranes and we began to think about their
lifespan, which continues after 2012. Like the park, itself, the cranes will
continue to build. While the park will build a new future for this part of the
city, the cranes will build new structures on different sites. We were also
inspired by the memory of the cranes that were in the East End Docks that have
now departed. They are a powerful metaphor of the decline, not only of the
docks, but also the manufacturing heritage of our Nation. The ones that remain
are loved and very symbolic but could perhaps be re-commissioned and built
again – if not literally, then metaphorically. The cranes symbolize this cycle
of use and re-use.
As the work on the site is
completed the cranes will be packed down and moved on to their next job. This
is how cities are built, and how London has existed since the Ancient Greeks
invented crane technology. The cranes that dictate the rising and falling
architecture of the city are a permanent yet temporal vista, always on the
move, always changing, but always there. The cranes as a concept never go, like
scaffold and road works they could be seen as a nuisance or an emblem of
progress. Where are the cranes now that built the Houses of Parliament? That
hauled together the British Museum? Might the Olympic Cranes, themselves,
become a part of London’s legacy?
The Olympic Park is the
most significant building project in Britain this millennium. The proposed
Olympic visitor attraction could become a monument to the building of this
site, to the building of history – and to the building of the future.
As the illustrations show,
our proposal is to pull a large number of the site cranes into the location for
the attraction. Here they will serve as a core structure for a rising series of
(sculpture) gardens into the sky. Possibly sponsored by individual
organisations, (as with the galleries of any major institution) each crane will
be active – making this sculpture functional and adaptable. Each of these
gardens will be accessible via arching ramps – also landscaped and green,
making access for both wheelchairs and the able bodied equal. Within these
gardens the individual elements can be picked up and moved like dolls house
objects by the towering cranes above, including public seating, sculptures,
performance stages and potentially the people themselvesConstruction
Cranes
are extremely efficient and strong structures, which can be used to lift, move
and assemble other structures. In this
case, a number of cranes and other components of temporary constructive
structures will be used to support floors, which will form floating gardens,
terraces and other facilities for the visitor. The public will experience the
cranes and have a panoramic view of the Olympic Park. The towers of the cranes will be used, in
conjunction with other steel and concrete structures to support the vertical
loads. Floors and terraces will be established by using primary steel trusses
spanning between main supports and cantilevering out from them to create the
desired artistic impression. A concrete deck will span the space between
secondary steel beams. Despite its size, the commission will be easy to build,
extend, adapt and eventually demolish and recycle.
Cost
The
cost of the structure will depend on the number and types of cranes, on the
sizes of the various gardens and on the facilities required by the client for
future community uses. Based on our conversation with some of the
constructors currently involved in the construction works for the Olympics, we
would expect to be able to buy a number of cranes and build a number of floors
with the budget currently allocated for this sculpture. – we have aimed to
represent this is accurately as possible in the design work provided.
Further
discussion will be required to select the types of cranes and to negotiate
their price. The overall construction
cost will depend on the development of the design and the design could be
tailored to the budget available.
Various methods to finance, or support the financial viability of the
scheme, could also be investigated in collaboration with the client.
This
proposed commission will adapt and evolve during its life and a larger number
of cranes could be part of it, as ‘invited spectators’, during the games
but removed after them when it evolves into something different. At this time
we understand a large amount of steel could become available as the Olympic
stadium is down-sized for legacy. The cost may therefore depend on the duration
of the various phases and the ‘games mode’ may only require hiring or borrowing
a number of cranes. Like the Olympic
athletes, many of the cranes will subsequently move to their next
challenge. The design of the commission
for the ‘legacy mode’ should address different needs and considerations about
future community uses. The current proposal is to explore the re-use of some of
the structures, which will be dismissed from other Olympic structures as an
additional heritage of the Olympic games.
Buro
Happold is currently involved in some of the Olympic projects and will assist
the artist in the development of a design that would take into account the
various engineering constraints of the site and possible re-use of temporary
structures. The design of this sculpture
will balance creativity, respect for the site, sustainable use of the resources
available and the future needs of the legacy mode.
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