DIGNIFIED, almost stately, the Battersea Power Station holds court on the south bank of the River Thames, the stocky panels of the nearby buildings deferring like a respectful retinue to the fluted chimneys that soar like columns of a long-lost Greek temple above the ziggurat of the Boiler House. The plump pig that flew against the station’s black smoke on the cover of the Pink Floyd’s 1977 album Animals may have given way to a crown of steel and glass, but the Grade II*-listed power station remains a much-loved symbol of London. Quite a feat for a place that had originally sparked protests for fear it would be an eyesore. The man behind this remarkable shift in perception was Sir Giles Gilbert Scott, who turned the building’s lumbering bulk into a functional take on a medieval cathedral. He had once said that he couldn’t understand the prejudice against electricity stations, as they could be made quite magnificent; it’s fair to say he was proven right, both at Battersea and at the other London station he designed—Bankside, which is now (with some conversion help from Herzog and de Meuron) Tate Modern.
‘His power stations must remain one of the more powerful reminders of his skills of design —transforming a utilitarian hulk of a building into an edifice with composition, finesse and a beguiling, timeless elegance,’ says Robbie Kerr of ADAM Architecture. ‘His use of brickwork is brilliant. And now, both buildings are living examples of adaptive reuse in the most captivating ways.’
Denne historien er fra March 01, 2023-utgaven av Country Life UK.
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Denne historien er fra March 01, 2023-utgaven av Country Life UK.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
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Kitchen garden cook - Apples
'Sweet and crisp, apples are the epitome of autumn flavour'
The original Mr Rochester
Three classic houses in North Yorkshire have come to the market; the owner of one inspired Charlotte Brontë to write Jane Eyre
Get it write
Desks, once akin to instruments of torture for scribes, have become cherished repositories of memories and secrets. Matthew Dennison charts their evolution
'Sloes hath ben my food'
A possible paint for the Picts and a definite culprit in tea fraud, the cheek-suckingly sour sloe's spiritual home is indisputably in gin, says John Wright
Souvenirs of greatness
FOR many years, some large boxes have been stored and forgotten in the dark recesses of the garage. Unpacked last week, the contents turned out to be pots: some, perhaps, nearing a century old—dense terracotta, of interesting provenance.
Plants for plants' sake
The garden at Hergest Croft, Herefordshire The home of Edward Banks The Banks family is synonymous with an extraordinary collection of trees and shrubs, many of which are presents from distinguished friends, garnered over two centuries. Be prepared to be amazed, says Charles Quest-Ritson
Capturing the castle
Seventy years after Christian Dior’s last fashion show in Scotland, the brand returned under creative director Maria Grazia Chiuri for a celebratory event honouring local craftsmanship, the beauty of the land and the Auld Alliance, explains Kim Parker
Nature's own cathedral
Our tallest native tree 'most lovely of all', the stately beech creates a shaded environment that few plants can survive. John Lewis-Stempel ventures into the enchanted woods
All that money could buy
A new book explores the lost riches of London's grand houses. Its author, Steven Brindle, looks at the residences of plutocrats built by the nouveaux riches of the late-Victorian and Edwardian ages
In with the old
Diamonds are meant to sparkle in candlelight, but many now gather dust in jewellery boxes. To wear them today, we may need to reimagine them, as Hetty Lintell discovers with her grandmother's jewellery