Fashion in architecture is more than skin deep. However sometimes the skin dominates the fashion. COR-TEN or weathered steel is not a new material, but compared to the everyday choice of building materials, it has a relatively short and some might say patchy history. It also has that elusive quality of authenticity and honesty. Many though not all ‘modern’ architects like to work with materials that are unencumbered by other messages references to historic styles .
Urban Splash’s refurbishment of the SOM / YRM Grade II* factory of WD and HO Wills Factory outside Bristol is one famous example of a COR-TEN structure being brought back to life with a completely different function. John Winter’s house in Highgate is perhaps the archetypal British modernist architects house. But these are very specific, fine examples of a rigorous structural aesthetic approach with the material expressed for what it was – a structure.
Other purely sculptural and structural examples, Richard Serra’s Fulcrum in Broadgate, the Anthony Gormley’s Angel of the North and Marks Barfield’s Kew Tree Walk are now added to by advertising displays at the Chiswick roundabout with COR-TEN structure.
Passing a quiet suburban street in Kew recently I was drawn to the remains of a modest brick facade undergoing reconstruction. I say reconstruction as it seemed that the planning authority was faced with a distinctive approach to the provision of a new home but with the remnants of an existing building, within a conservation area and with neighbours whose initial reaction was probably negative. The Richmond planning website revealed that it was designed by Piercy Conner receiving permission in 2011. When finished it will probably grace the pages of architectural and design magazines. But will it last and how will it weather? COR-TEN is a complex material and has many
Last week the Waddington Studios by Featherstone Young were illustrated in the AJ.
COR-TEN was the preferred material of enclosure to the public face of the building. This time it was not compromised by attempts to keep some reference to what was there before and to that extent it makes a more positive statement. It is also a far more complex arrangement of spaces and functions and the COR-TEN was only a part of the stylistic references and messages. (MAXXI, green roofs, Waddington playing card designs)
COR-TEN can be used in its pure structural and sculptural form without references or historical detail. It can as in the examples of Piercey Conner’s house and the Featherstone Young building be embellished and perforated to create patterns. But there is more to the material than honesty and truthfulness, it has distinctive weathering qualities and design detail requirements. This demands complex design detailing and craftsmanship.
The question lingers, if COR-TEN is the answer what was the question?