In 2015, the application to give Robin Hood Gardens listed status was turned down and demolition was approved. In section, the design further promotes this relationship: the residents’ car park on the underground floor is accessed from the outside. According to the historian and critic Reyner Banham, the Smithsons’ design was “Architecture of the Second Machine Age”. Photography: Mohamed Somji Photo Copyright © Victoria and Albert Museum, London. A three-storey module of Robin Hood Gardens is currently being dismantled for assimilation into the V&A archive: it is the largest fragment of a modern building to be accepted by a museum. Three months later, the Victoria and Albert Museum revealed that they had acquired a three-storey segment of the estate including a maisonette flat interior, sections of a stairway and part of the elevated walkway. They intended it to be 'a demonstration of a more enjoyable way of living … a model, an exemplar, of a new mode of urban organisation'. Robin Hood Gardens was certainly run down and its reputation suffered as a result – our eccentric friend sometimes veered between wise elder and embarrassing relative. Courtesy of the Smithson Family Collection, Deck of Robin Hood Gardens with Alison Smithson, photographed by Peter Smithson, It's an ambitious task, writes our correspondent, but one that's ultimately successful. And then something really surprising happened: The architectural community rallied in its defense. Completed in 1972, the building was designed by Alison (1928 –1993) and Peter Smithson (1923 – 2003), British architects of lasting international reputation. The requests were declined by English Heritage. Perhaps it is a matter of urban scale, as well as the dismissal of … "Robin Hood Gardens is a complex and ambitious design and the only realization of the Smithson’s ideas about social housing, born of twenty years’ research," the curators tell AD PRO. Despite its many shortcomings, the buildings are the clearest representation of a typology of large-scale housing projects that fascinated a generation of architects through to the 1970s. So it is not a coincidence that the design of Robin Hood Gardens began with the analysis of the industrial area of the docks. di Milano n. 1186124Capitale sociale versato € 5.000.000,00 - All rights reserved - Informativa Privacy - Informativa cookie completa - Privacy, Robin Hood Gardens is a lesson for future cities, the robin hood gardens, reyner banham and the city, Domus 1052 is on newsstands: “Recovering Italy”, America Deserta Revisited: New York to Baltimore, America Deserta Revisited: Detroit to Los Angeles, Sign up for our Newsletter and get domus in your inbox. The buildings thus enclose a central space: the stress-free zone, a common space free of vehicular traffic and dominated by an artificial hill built with the earth from the excavation of the foundations. After nine years of back-and-forth, demolition of Robin Hood Gardens finally began in August 2017. One could argue that before it was even completed the seeds of its demise were sown. An interior view of a flat in Robin Hood Gardens Credit: V&A It is also an object that will stimulate debate around architecture and urbanism today – it raises important questions about the history and future of housing in Britain, and what we want from our cities. After years of protests from locals, architects, and critics, local authorities at … Robin Hood Gardens was the culmination of their research on and vision for social housing. Staircase to the street-in-the-sky, reassembled fragment of Robin Hood Gardens, Pavilion of Applied Arts, La Biennale di Venezia, 2018. Girl on a Street in the Sky, Robin Hood Gardens, 1972. Responding to this year Architecture Biennale’s theme of FREESPACE, the exhibition Robin Hood Gardens: A Ruin in Reverse presents a 9m-high salvaged section of the façade of Robin Hood Gardens, the Brutalist housing estate by Alison and Peter Smithson currently under demolition. When the elevators break down, they climb a dank, airless stairwell. The designers immediately identified traffic, noise, air pollution, vandalism and lack of quality as the problems of our working life. Because those who will mourn Robin Hood Gardens will do so partly out of their reverence for the Smithsons but also, presumably, out of nostalgia for the welfare state and all that it achieved. The past 50 years almost always ended up proving how untrue that was, and how inadequate the buildings were. The primary need was to protect the residential complex from the presence of city infrastructure. Robin Hood Gardens: three-storey architectural fragment of a social housing block of flats comprising the interior features of two maisonettes and two facades (no floors or walls). Read our, Alternatively search over 1,200,000 objects from the, © Victoria and Albert Museum, London, 2021. Victoria Miro London / Venice. Photograph: KOIS MIAH 07903656411 mail@koism/Kois Miah Fri 15 Dec 2017 02.00 EST Last modified on … The housing project was designed by the Smithsons, at the time Britain’s most influential architects, with the vision of it becoming a prime example of a social housing development. We suppose the issue here is to understand how to design behaviour, meaning how to bring people to respond in a certain way to the built space.”. But the longer of the two snaking Brutalist concrete buildings forming this once-exemplary public-housing project stands empty and boarded up. Inside, tenants of Robin Hood Gardens ride claustrophobic elevators to reach their apartments. Robin Hood Gardens, Poplar, London, by Alison and Peter Smithson (Building) by Smithson, Alison Margaret, 1970 - 1972. The curators of the exhibition “Robin Hood Gardens: A Ruin in Reverse” at the Venice Biennale, Christopher Turner and Olivia Horsfall Turner, talk about how “the architects were blamed for the high crime rate in the complex”, and that the Smithsons “were shocked at the speed with which this happened”. Copyright © Victoria and Albert Museum, London. At the end of the postwar welfare policies and just before the 1973 oil crisis and the subsequent recession, the building was one of the emblematic experiments of the three decades following World War II. Despite the problems and socially functional drag Robin Hood Gardens, it is a design that is part of the mythology of contemporary architecture, especially for being signed by one of the most influential theorists and designers of the second half of the twentieth century. In particular, the documentation of life in the East End suburb of Bethnal Green, London by the photographer Nigel Henderson correlated with the Smithsons' interest in “human facts” (see the volume Team 10 Primer edited by Alison Smithson, Studio Vista Limited, London 1968). The Smithsons’ ideas were formed within the CIAM, the International Congresses of Modern Architecture, and it was within the same movement that Team X was born in 1953. Robin Hood Gardens was the culmination of 20 years of research into social housing by Alison Smithson (1928 – 1993) and Peter Smithson (1923 – 2003). The choice of Alison and Peter Smithson as architects gave this wife and husband team their first and only opportunity to create a council estate. View from the street-in-the-sky, Robin Hood Gardens: A Ruin In Reverse, Pavilion of Applied Arts, La Biennale di Venezia, 2018. Pinterest. Side view of reassembled fragment of the façade of Robin Hood Gardens, Pavilion of Applied Arts, La Biennale di Venezia, 2018. Demolition will start before the end of the year. Courtesy of The Smithson Family Collection, Yellow triangle detail of Robin Hood Gardens circa 1970, photographed by Peter Smithson. Robin Hood Gardens was built in the 1960s and hailed as one of the finest examples of brutalist architecture in Western Europe. They laid down overall space standards dependant on the number of occupants, the size of individual rooms and specifics such as the amount of storage space. Two years ago, despite noble efforts to save it, demolition commenced on the East London housing estate Robin Hood Gardens… The V&A's acquisition of a section of Robin Hood Gardens, complete with front and back facades, will motivate new thinking and research into this highly experimental period of British architectural and urban history. 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