Latest news with #urbanheritage
The Independent
01-06-2025
- Lifestyle
- The Independent
Artist makes mini versions of Brutalist buildings to champion ‘unloved' style
An artist has been recreating Brutalist buildings in miniature to champion the often 'unloved' architectural style he said is an integral part of the UK's urban heritage. Adam Carthy, 39, started his business called Spaceplay around 2016 – the same time as the demolition of Birmingham Central Library which was heralded for its Brutalist architecture, a style popular in the 1950s to 1970s and characterised by block-like, hulking concrete structures. His mission is to champion Brutalist buildings by replicating them in miniature. Mr Carthy, who is from Balsall Heath in Birmingham and has an architectural background, has so far made tiny versions of around 60 buildings, many from around the UK including Trellick Tower and Alexandra Road Estate, both in London, and the University of East Anglia library. He has also made his own small takes on international buildings including the Jenaro Valverde Marin Building in San Jose, Costa Rica, and Torres Blancas in Madrid, Spain. 'A lot of Brutalist buildings are being demolished now, a lot of them are being neglected, a lot of them are unloved and so we're losing part of our urban heritage, and particularly urban heritage that my generation and the previous two generations grew up with,' Mr Carthy told the PA news agency. 'There were a lot of exciting buildings that came from the 60s and 70s, some that are still very successful and loved or have had a kind of renaissance, like the Royal National Theatre or the Hayward Gallery. 'What we are trying to do is bring attention to something that is unloved and giving it value.' He often visits the buildings he recreates and says holding his models up to their larger counterparts feels 'magical'. 'I visited Alexandra Road Estate last week and to hold the model and see the estate in the background felt magical,' he said. He said that recreating Trellick Tower was especially meaningful as he got to tour the inside of the building with someone who has lived there since it was opened. 'When I started making London buildings, it was Trellick Tower that stood out like nothing else and just how many people know about that building and feel connected to it,' he said. 'There's nobody that doesn't know it – it's so iconic – and I love every time I drive into London on the A40 and I can see it just standing there, clear above everything else in the landscape. 'I've also had the fortune to connect with people that live there and be shown around by a lady who has lived there since it opened and I was blown away by how connected the people there felt – everyone coming in and leaving seemed really happy and it felt like everyone knew each other.' He said it can take anywhere between a month to two months to create the miniature models, depending on the level of detail required. As for the process, Mr Carthy starts by creating a brand new digital model of the buildings he is depicting based on things like architectural drawings and photographs he has taken from visits to the sites. He 3D prints those files using resin printing before making moulds and then the concrete is involved. ' Concrete is a wonderful material, it's so versatile, and I love the process of how you start with a powder and then it becomes a liquid and then it sets into a solid,' he said. 'You can't remould it, you can't adjust it, so you have this one-time process of the set-up and the action and then it's done forever and you can't undo it. 'I embrace that process and really enjoy it and over the years, I've introduced more refined processes through talking to people, through watching videos, testing and trial and error, trying out different mixes and different types of aggregates.' He added he also uses a vibrating table which vibrates the concrete so air bubbles are reduced, and a compression tank to make the models compact. He said he has achieved thousands of sales as he often makes multiple versions of the same model for those with a similar love of Brutalism, with his work being requested as far away as America and South Korea. 'There's definitely a sense of community around the love of Brutalism and to be part of that and connecting to people through the work I do is amazing,' he added. 'I've designed the models so they can sit in the palm of a hand so people can feel connected to them because they might have a particular memory linked to the building. 'People can feel a sense of ownership over it – it's your place and it's part of you.'
Yahoo
31-05-2025
- Lifestyle
- Yahoo
Artist makes mini versions of Brutalist buildings to champion ‘unloved' style
An artist has been recreating Brutalist buildings in miniature to champion the often 'unloved' architectural style he said is an integral part of the UK's urban heritage. Adam Carthy, 39, started his business called Spaceplay around 2016 – the same time as the demolition of Birmingham Central Library which was heralded for its Brutalist architecture, a style popular in the 1950s to 1970s and characterised by block-like, hulking concrete structures. His mission is to champion Brutalist buildings by replicating them in miniature. Mr Carthy, who is from Balsall Heath in Birmingham and has an architectural background, has so far made tiny versions of around 60 buildings, many from around the UK including Trellick Tower and Alexandra Road Estate, both in London, and the University of East Anglia library. He has also made his own small takes on international buildings including the Jenaro Valverde Marin Building in San Jose, Costa Rica, and Torres Blancas in Madrid, Spain. 'A lot of Brutalist buildings are being demolished now, a lot of them are being neglected, a lot of them are unloved and so we're losing part of our urban heritage, and particularly urban heritage that my generation and the previous two generations grew up with,' Mr Carthy told the PA news agency. 'There were a lot of exciting buildings that came from the 60s and 70s, some that are still very successful and loved or have had a kind of renaissance, like the Royal National Theatre or the Hayward Gallery. 'What we are trying to do is bring attention to something that is unloved and giving it value.' He often visits the buildings he recreates and says holding his models up to their larger counterparts feels 'magical'. 'I visited Alexandra Road Estate last week and to hold the model and see the estate in the background felt magical,' he said. He said that recreating Trellick Tower was especially meaningful as he got to tour the inside of the building with someone who has lived there since it was opened. 'When I started making London buildings, it was Trellick Tower that stood out like nothing else and just how many people know about that building and feel connected to it,' he said. 'There's nobody that doesn't know it – it's so iconic – and I love every time I drive into London on the A40 and I can see it just standing there, clear above everything else in the landscape. 'I've also had the fortune to connect with people that live there and be shown around by a lady who has lived there since it opened and I was blown away by how connected the people there felt – everyone coming in and leaving seemed really happy and it felt like everyone knew each other.' He said it can take anywhere between a month to two months to create the miniature models, depending on the level of detail required. As for the process, Mr Carthy starts by creating a brand new digital model of the buildings he is depicting based on things like architectural drawings and photographs he has taken from visits to the sites. He 3D prints those files using resin printing before making moulds and then the concrete is involved. 'Concrete is a wonderful material, it's so versatile, and I love the process of how you start with a powder and then it becomes a liquid and then it sets into a solid,' he said. 'You can't remould it, you can't adjust it, so you have this one-time process of the set-up and the action and then it's done forever and you can't undo it. 'I embrace that process and really enjoy it and over the years, I've introduced more refined processes through talking to people, through watching videos, testing and trial and error, trying out different mixes and different types of aggregates.' He added he also uses a vibrating table which vibrates the concrete so air bubbles are reduced, and a compression tank to make the models compact. He said he has achieved thousands of sales as he often makes multiple versions of the same model for those with a similar love of Brutalism, with his work being requested as far away as America and South Korea. 'There's definitely a sense of community around the love of Brutalism and to be part of that and connecting to people through the work I do is amazing,' he added. 'I've designed the models so they can sit in the palm of a hand so people can feel connected to them because they might have a particular memory linked to the building. 'People can feel a sense of ownership over it – it's your place and it's part of you.'
Free Malaysia Today
20-05-2025
- Business
- Free Malaysia Today
Urban redevelopment: lessons from London's Battersea
Malaysia stands at a critical juncture. The proposed Urban Regeneration Act (URA) bill, now a hot topic in the media and obviously in our Parliament too, is being presented as a solution to the country's escalating problem of urban decay. But behind the promise of revitalised towns and cities lies a troubling question: will this bill enable sustainable regeneration, or will it merely sanction unchecked demolition and profit-driven development? This debate is more than just a clash of opinions — it is a test of the nation's commitment to preserving its urban heritage while pursuing modernisation. For a clearer perspective, Malaysia need only look to its own success abroad: the £9 billion redevelopment of London's iconic Battersea Power Station, a project where Malaysian companies — PNB (SP Setia), Sime Darby, and EPF — played a pivotal role. The real issue: incompetent local authorities At the heart of Malaysia's urban decay problem is a chronic weakness within our local authorities. Many lack the technical expertise needed to manage urban areas effectively, resorting to a simplistic, 'demolish and rebuild' or 'widen the road' or 'build a flyover' approach. This short-sighted strategy not only undermines heritage but also prevents the adoption of sustainable solutions, leading to a dysfunctional, repulsive cityscape. An equally damaging problem is the absence of a maintenance culture. When faced with deteriorating sites or buildings, local authorities often blame budget constraints, deny responsibility, or shift blame to developers. Such excuses only allow decay to worsen, turning cities into landscapes of neglect and horrifying sites that no one wants to visit. Of late, these areas have become parts of our towns and cities where illegal migrants proliferate. Battersea: a Malaysian triumph abroad In stark contrast to this dysfunction is the Battersea Power Station project — an inspiring example of how urban regeneration can be achieved without sacrificing history or sustainability. This ambitious £9 billion transformation of a derelict brownfield site into a thriving urban hub was guided by clear principles of conservation and sustainability: Conservation as a mandate: Despite its dilapidated state, the Grade II-listed Battersea Power Station was preserved. The iconic four chimneys, symbolic of the structure, were carefully demolished and rebuilt to their original design using modern, durable materials. This approach balanced heritage conservation with structural integrity. Public transit integration: London authorities did not simply approve the redevelopment — they required a £1.1 billion extension of the London Underground's northern line, directly connecting the site to the city's public transit network. This ensured that the new urban hub was not just accessible but also aligned with sustainable mobility goals. These principles — respect for history, commitment to sustainability, and responsible governance — stand in sharp contrast to the problems plaguing Malaysia's urban management. Unanswered questions about the URA Bill As it stands, the URA Bill seems to grant developers broad powers to demolish and rebuild decaying areas. But without clear safeguards, this could turn into a recipe for uncontrolled destruction and unfair compensation. Critical questions remain: Will heritage be protected? In the Battersea project, strict heritage conservation rules were enforced. Will the URA impose similar requirements? Does Malaysia have strong enough conservation laws to ensure this? Will sustainable mobility be prioritised? Battersea's regeneration was directly tied to improved public transport. Will the URA mandate public transit integration instead of simply allowing for more car parks? Will local authorities be strengthened? Without skilled and accountable local authorities, the URA will be powerless to ensure responsible regeneration. What steps will be taken to equip these bodies with the expertise they desperately need? Defining Malaysia's urban future The URA bill represents a choice for Malaysia — a choice between thoughtful, sustainable urban regeneration and reckless, profit-driven development. If the government is serious about creating vibrant, liveable cities, it must ensure that the URA is guided by clear principles of conservation, sustainability, and accountability. Malaysian-owned conglomerates have already demonstrated, through the Battersea Power Station project, that it is capable of balancing regeneration with heritage preservation — at least on foreign soil. The question now is whether it can bring the same vision and discipline home. If the URA bill is allowed to become a blank cheque for developers, it will turn cities into soulless clusters of concrete jungle. Without naming them, there are several examples of such sites in the country today. However, if it is carefully crafted with strong safeguards, it could mark the beginning of a new era for Malaysia's urban landscape — one where history, culture and heritage combined, and progress could walk hand in hand. The author can be reached at: rosli@ The views expressed are those of the writer and do not necessarily reflect those of FMT.
