The LDDC designated this part of the Docklands — Trinity Wharf, once owned by the people who trained lighthouse keepers on site — as a place for artists to let cheap space. Its developer (shame it’s not a cooperative. . .) uses redundant containers as a relatively cheap and quick way of doing this. It’s all based on the UK economy’s import-export inbalance that leaves quiet parts of the country stacked with empty, old containers. Windows are cut, doors fixed open to support balconies, external staircases added, insulation sprayed on the inside, plasterboard linings put in place. . . It’s all fairly straight-forward. Interestingly, the first phase has been ‘architected’ by Nicholas Lacey. This makes sense, but somewhat knocks the edge off a naive romance about shanty towns in London. A second phase is more knowing and strives for less overt architectural gamesmanship, although it still demonstrates a striving to provide a real sense of place within its arrival court. Local planners have been supportive (but probably traumatised). As an aside, it is interesting to note that as Container City has established itself and become more successful as a live-work community security and the like has been put in place and it is beginning to pose as less bohemian and more corporate. Such is the gentrification of containers.
Left: just to remind you where it came from — Habitat ‘67, Montreal.
There is something defensive and castle-like 14 to many of Rogers’ designs and this is no exception (a building for Reuters). It sits against the river, has multiple power connections and back-up systems, and is characterised by an air of paranoia which surrounds the place with guards, fencing and cameras. The building houses telecommunications equipment for an agency whose services are crucial to many finance houses – information worth millions. And they don’t want anyone thinking it might be easy to knock the building out. It’s really a big machine, with a few inhabitants, a relatively low-cost shell but expensive internals. These qualities are emphasised by the massive air conditioning plant taking up the two upper levels. The architect’s ability to be more playful is restricted to perimeter escape stairs and a separate cafeteria pavilion with riverside views. (St. Lawrence Street, E14; Richard Rogers Partnership, 1990; DLR: Blackwall)