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AN OXFORD OUTING

DECEMBER 2017

An Oxford Outing

Last month NMLA’s Balliol College team went on a celebratory excursion to Oxford to mark an important project milestone. We visited selected buildings by the office and by others, called at the site to observe demolition-in-progress, and finally hid from the rain for festive beverages.

All aboard the 9 o’clock train from London Marylebone. The sky is grey and the clouds are heavy.

One hour later, two taxis crawl up the hill to Ripon College. Ten excited people are deposited on its driveway.

We enter the chapel. Two people to pull the entrance door wide. Eyes up; iPhones out; pause to pose for photo.

Outside, driver’s thumbs drum-drumming against the steering wheel. Doors open; it’s time to go. Heart FM for the drive into town.

Students mill around Somerville College. Camouflaged amongst them we enter NMLA’s housing block. Up the stair tower, peeking into bedrooms and kitchens, we debate the merits of bathroom pods.

Herzog and de Meuron’s Blavatnik School of Government stands next to Somerville, glittering. Like magpies we are drawn through its doors.

On the roof terrace Oxford is laid out beneath us, dreaming spires etc., but next: lunch.

Heavier and happier, we walk to Worcester College’s Nazrin Shah Building. Heads pressed to the glass we stare greedily inside.

Later, eleven sets of PPE are donned and rainclouds assemble as we tour the site. Mud, glorious mud. Three years till ribbon-cutting.

The rain starts, the pub beckons. Cheers to Balliol!

‘ETERNAL PROBLEMS’, RIBA JOURNAL EXHIBITION REVIEW BY NIALL MCLAUGHLIN

JUNE 2014

Niall McLaughlin has written a piece for the RIBA Journal on the symbolic use of architecture within early Renaissance Art. The essay describes observations based on a visit to the ‘Building the Picture’ exhibition, currently on show at the National Gallery in London. The exhibition gathers together architectonic works by the Italian masters of the 14th-16th centuries that explore real and imagined architectural space.

The article observes how the Renaissance artists’ enthusiasms for displaying their newly discovered skills of perspective and knowledge of the classical forms are conflated with a religious symbolism. The tropes of classical architecture are used as visual metaphors for the divine and eternal. The article explores the effect of these spaces on the viewer and the reasons why the idealised architecture tends to alienate rather than engage.