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A SITE FOR SAURIIS

JANUARY 2017

A Site for Sauriis

Our proposal to redevelop the grounds of the Natural History Museum is due to start on site this month. The work to the main entrance – the first of three phases – will introduce level access to this area for the first time while also restoring the Grade-I listed fabric to its former glory.

The works include changing levels, repaving the forecourt, restoring railings, installing planting, and repairing or reinstating original terracotta details across the site.

Ahead of this, the main entrance and central hall of the Museum are now closed while both teams gear up for construction – including some unusual enabling works. As part of these works Dippy the diplodocus has now been dismantled ahead of going on tour around the country; to be eventually recast in bronze for the next phase of our project.

The railings have now been removed for off-site restoration and re-painting:

And scaffolding is also going up for the removal of display cases and various specimens:

This will need to go up again halfway through construction of Phase 1 allow for delivery of the blue whale skull through our active site. Here it is just before it left the Museum.

If you’re wondering how that that will fit through the front doors, the answer’s simple: the same way the elephants do.

Phase 1 is due to complete mid-July ahead of the main entrance reopening to the public shortly after. In the meantime, there’s a pop-up conservation studio in the Darwin Centre – which we highly recommend – where you can see the conservationists at work restoring the whale’s bones.

ROWAN MOORE WRITES ABOUT BISHOP EDWARD KING CHAPEL IN THE OBSERVER

APRIL 2013

Architecture critic Rowan Moore has written a review of the Bishop Edward King Chapel with the title “The Answers to their Prayers”  that was published in the Observer Magazine. The article touches on the broader themes of the interpretation and appropriation of religious symbolism in architecture, and in this context praises the paradoxical nature of the chapel; “It is…heavy and light, a bastion and a boat, a wall and a drape. It has presence, but doesn’t dominate.” Describing the form and materiality of the building Moore writes, “The building is crafted and considered: it makes ideas physical: it has intentions and carries them out in its space and matter.”

Link to the article