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Planning Permission Granted For Wong Avery Gallery

May 2018

Planning Permission Granted For Wong Avery Gallery

Planning permission has been granted for the construction of a small new music practice and performance space for Trinity Hall, Cambridge. The stone-built music practice and recital space will sit in the centre of Avery Court, on the College’s central Cambridge site, adjacent to several listed buildings including the chapels of both Trinity Hall and Clare College. It will be named the Wong Avery Gallery in recognition of its primary funders, the family of the late Dennis Avery, the College Fellow after whom the Court is named. The addition of the new building will greatly improve the College’s offer for students and staff participating in or studying music and enrich the cultural life of the College as a whole.

It is a simple loadbearing construction made of thin stone columns and beams. It is a composition of cubic forms, with a Greek cross plan-form. Performances will take place in the centre, with audience seating in bay windows at the ends of each arm, the walls of which are lined with shelves to store sheet music. Over the crossing, a glazed lantern brings light into the centre of the building and is lined with acoustic shutters which allow the reverbera- tion time of the space to be finely tuned according to the number of musicians and audience members for each rehearsal or performance. As part of the proposals, the court will be landscaped to designs by Kim Wilkie, with a large paved area surrounded by borders filled with predominantly green shrubs and climbing plants.

The project is due to start on site during the academic year 2018 -19.

Niall McLaughlin writes LA Article for Architectural Review

September 2013

Niall McLaughlin writes LA Article for Architectural Review

Niall McLaughlin has written an article for the Architectural Review, entitled ‘Street Life: Michael Maltzan’s Social Housing in Los Angeles’. The piece examines the history of the infamous area of LA known as Skid Row and three housing projects by the practice Michael Maltzan Architecture for this fractured part of the city. The piece draws out common themes between the projects, which are all low-cost accommodation for the previously homeless, exploring the successful spatial relationships between the private space of the individual rooms, the areas of common sheltered space and the public realm of the street.

“The formal virtuosity of each composition is Maltzan’s own special skill and they suggest that high architecture can give pleasure and dignity to all of us….I hope that the different spatial experiments, linking and articulating pavement, common sheltered space and private rooms, will become subjects for further reflection and analysis. It speaks of our common need to situate ourselves and participate in public life.” NM