Roundhouse (venue) - Architecture

Architecture

The Roundhouse is Grade II* listed. It was declared a National Heritage Site in 2010, when a Transport Trust Heritage Plaque was presented by Prince Michael of Kent. It is regarded as a notable example of mid-19th century railway architecture. The original building, 48 metres (157 ft) in diameter, is constructed in yellow brick and is distinctive for its unusual circular shape and pointed roof. The conical slate roof has a central smoke louvre (now glazed) and is supported by 24 cast-iron Doric columns (arranged around the original locomotive spaces) and a framework of curved ribs. The interior has original flooring and parts of the turntable and fragments of early railway lines.

The 2006 renovation was supported with conservation advice and funding from English Heritage and with grants from the Heritage Lottery Fund and the Arts Council England. The project included the addition of seven layers of soundproofing to the roof, reinstating the glazed roof-lights, and added the steel and glass New Wing which curves around the north side of the main building, to house the box office, bar and café, an art gallery foyer and offices.

Read more about this topic:  Roundhouse (venue)

Famous quotes containing the word architecture:

    Art is a jealous mistress, and if a man have a genius for painting, poetry, music, architecture or philosophy, he makes a bad husband and an ill provider, and should be wise in season and not fetter himself with duties which will embitter his days and spoil him for his proper work.
    Ralph Waldo Emerson (1803–1882)

    In short, the building becomes a theatrical demonstration of its functional ideal. In this romanticism, High-Tech architecture is, of course, no different in spirit—if totally different in form—from all the romantic architecture of the past.
    Dan Cruickshank (b. 1949)

    The two elements the traveler first captures in the big city are extrahuman architecture and furious rhythm. Geometry and anguish. At first glance, the rhythm may be confused with gaiety, but when you look more closely at the mechanism of social life and the painful slavery of both men and machines, you see that it is nothing but a kind of typical, empty anguish that makes even crime and gangs forgivable means of escape.
    Federico García Lorca (1898–1936)