Issue: 012

06.2015

It is a year ago that the Board held its 2014 June meeting in the London studio, at that time our space above Oxford Street. Twelve months on and the Board is again holding its June meeting in London only this time in our new studio in Riding House Street. And what a transformation.This area of Fitzrovia,

100 metres from the BBC’s new HQ boasts restaurants, cafes and businesses sitting alongside [or often under] residential apartments. Unlike Oxford Street which was almost exclusively a commercial street, Riding House Street has a School, apartments, two pubs and a restaurant.Our studio is already

helping to raise funds for the neighbouring primary school and build relationships with other near neighbours including tech companies, engineers and other architects. Our studio reflects how

we want to work, it is a test-bed for different work styles and we use it to show clients new ways of working. We have our own Front Door to the street and our Friday night ‘Salon’ slide shows held in our reception area are often watched through the front windows by passers-by. We have a new home to

be proud of, a space we designed for ourselves to reflect our design ethos. What isn’t immediately apparent since the Board’s last visit is the enormous amount of effort that has gone into designing, managing and moving the studio from Oxford Street. Many have had a hand in the project but I would particularly like to thank Peter O’Donnell, Phoebe Settle, Emma Smith, Stephanie Glenn, Simon Saint and Tarran Kundi for their efforts in getting us into our new home. Great job!Jonathan French

TO THEPOINT

GLOBAL PROJECT

THIS ISSUE LOOKS AT ‘THE VILLAGE’ IN NAB; COMPARES THE DESIGNS OF SAHMRI AND THE FRANCIS CRICK INSTITUTE; REVIEWS THE VIBRANCY OF PROJECTS IN NEW YORK; DISCUSSES ARCHITECTS AS MAGICIANS; AND FOCUSES ON THE LONDON STUDIO’S FANTASTIC NEW SPACE IN THE HEART OF FITZROVIA.

Cover: Woods Bagot London StudioPhotography:Gareth Gardner

Putting the Village into the City at NAB

Use:Workplace

Total Area:63,000m2

Woods Bagot Team:Nik Karalis/ Domenic Alvaro/ Will Hosikian/ Peter Korkolis/ Simon Dick/ Frank Rog/ Nick Deans/ Matt McDonnell/ Adam Link/ Susannah Xu/ Chris Scicluna/ Ivan Kokrhelj/Simon Pole/ Kathryn Ellis/ Kylie Holton/ Tarryn Manskie/ Tom Withers/ Lawrence Ng/ Isabel Letham

National Australia Bank (NAB)—which opened in late 2013—sits on a site in Melbourne Docklands, between Spencer Street station and Etihad Stadium and the base of the building of 6,000 workers is publicly accessible.

NAB saw a unique opportunity to do something unprecedented in this building to create an environment that fosters relationships between bank, customer and community at ground level.

By integrating a co-working space into a corporate environment, NAB transformed its mainstream environments into a place where NAB could once again fill an important role within the community. A work hub

and service supports small business customers and community partners in this space, which is appropriately known as ‘The Village’.

This space offers visitors a relatively calm and peaceful space at main entry level to the building which has become the largest co-working membership community in Melbourne with over 1,400 members from hundreds of different organisations since it launched in February 2014.

Of these members, a significant proportion are small business customers, some are community organisations and the remainder are drawn from across all NAB banking client groups. Members have access to free Wi-Fi and state-

of-the-art technology across eight contemporary workspaces. There are drop-in desks, meeting rooms and casual catch-up areas. Up to 10 networking and learning events take place every week, mostly hosted by the community. Diversity is one of The Village’s core values and the space invites people from all walks of life.

The point of entry to NAB is characteristic of the radical approach sought by the client for the building. The main entry is for pedestrians, with entry from the road on the level below. The ground floor is fully accessible to the public, with security managed on the levels above. NAB customers have the ability to access and move through the building,

using retail outlets, casual seating areas and cafes, as well as childcare facilities and an auditorium with its own democratic amphitheatre. These spaces sit alongside The Village environment, welcoming in all visitors to the building.

The ‘Village’ concept is currently being rolled out in other NAB buildings across Australia. It offers a welcoming, non-hierarchical co-working space which helps to build a strong sense of community within the workspace. The project is heralded as the most successful example of co-working in Australia and is also one which generates many millions of dollars for NAB in new customer leads.

LOCAL PROJECT

London Studio Settles In

Use:Office/ commerical

Total Area:661m2

283m2 Ground Floor378m2 Lower Ground Floor

Woods Bagot Team:Natasha Bonugli/ Nicholas Byok/ Jonathan J Clarke/ Chris Columbus/ Ross Donaldson/ Jonathan French/Stephanie Glen/ Stu Harwood/Nik Karalis/ Jonathan McGrath/Peter O’Donnell/ Simon Saint/Girish Shah/ Phoebe Settle

The London studio has recently moved to a new space between Foley Street and Riding House Street, in Fitzrovia. The area is home to a diverse range of businesses including architects, engineers, post-production TV companies and fashion wholesalers.

The studio was designed to accommodate 65 people across the ground and lower ground floors of the building. The team previously occupied premises in Oxford Street but relocated last year to a temporary space in the current building while work on the new studio was carried out.

Interior Designer, Phoebe Settle, who worked closely on creating and delivering the new studio design, says:

“The process of approving a design with colleagues—all of whom are professional designers themselves —has been far more rigorous than it would have been with a client.”

“We have aimed to create a proper design studio rather than adapt to a typical office space. This is also a studio which is broadly aligned with —and complementary to—the design of other Woods Bagot studios across the world. To help achieve this, we collaborated with designers across our global studio to ensure that the Woods Bagot ethos is embedded in the new space as strongly as possible,” she explains.

The column grid and base building layout are irregular and this created

challenges with regard to optimising seating arrangements. The team has created a layout that helps to maximise the opportunity offered by the street frontage, integrates clients into the studio environment and creates a flexible working setting.

In addition to the existing staircase and lifts on the Foley Street side, a new, second staircase connects the ground and lower ground floors on the Riding House Street side. A kitchen and informal meeting area have been incorporated into spaces at the bottom of the staircase. “This helps to encourage movement between levels as well as greater interaction between clients and colleagues,” says Phoebe.

The reception area has been

WE COLLABORATED WITH DESIGNERS ACROSS OUR GLOBAL STUDIO TO ENSURE THAT THE WOODS BAGOT ETHOS IS EMBEDDED IN THE NEW SPACE AS STRONGLY AS POSSIBLE

designed as a gallery space and is currently hosting work from artists who have worked with Woods Bagot. The space is also used every Friday evening for ‘London Salon’ presentations, a regular activity that helps to broaden design discourse in the London studio by engaging with designers from a range of disciplines.

The London studio—due to be showcased in the summer issue of ‘New London Quarterly’ magazine—is participating in the RIBA London Open Studios as part of the London Festival of Architecture on 27-28 June by hosting the work of three different artists—watch this space.Maria Papayannakis Paul Stelmaszczyk

IN COMPARISON

Ahead of the Curve? Developments in Laboratory Architecture

I have taken numerous groups of school children around the Blizard Institute’s (below, right) innovative open plan environment in Whitechapel, East London and shown them the scientists working within. This early example of making a highly complex and normally inward-looking, medical building more transparent and engaging appears to be a common theme exploited by two very similar science-based projects in London and Adelaide: Woods Bagot’s South Australian Health and Medical Research Institute (SAHMRI) (above)completed in 2014 and the Francis

Crick Institute (above, right) under construction in central London.

SAHMRI is a world-class medical research facility founded through the strategic partnership of three Universities: the University of Adelaide, Flinders University and the University of South Australia, as well as the South Australian Government. Built alongside the Royal Adelaide Hospital in the city’s west end, the SAHMRI facility is designed to accommodate up to 675 researchers undertaking research relating to human medicine and health.

The 93,000m2 Francis Crick Institute, is a world-class interdisciplinary medical research institute designed by lead architect

HOK and due for completion in 2016. Located close to St Pancras Station and at the heart of an emerging ‘medical knowledge quarter’ the new Institute is a unique partnership between the Medical Research Council (MRC),Cancer Research UK, the Wellcome Trust, UCL, Imperial College London and King’s College London.

A key driver for both buildings is to foster collaboration between researchers and avoid the traditional scientific ‘silo’ culture common to traditional laboratory buildings.

At SAHMRI each laboratory module is connected by the lobby and bridge with visual connections via the atria. The wet lab module consists

of predominantly three functions, the open lab space, lab support rooms and the write-up space. The relationship between these spaces are arranged to encourage interaction. Labs are located towards the centre of the floor plate with flexible support space and vertical servicing against the west façade. The write-up spaces on the adjacent north are based on a modular workplace design including open plan, enclosed meeting rooms and quiet spaces.

The highly articulated and transparent façade allows maximum daylight into these areas as well as borrowed light to the laboratory spaces.

The Crick is cruciform in shape

A KEY DRIVER FOR BOTH BUILDINGS IS TO FOSTER COLLABORATION BETWEEN RESEARCHERS AND AVOID THE TRADITIONAL SCIENTIFIC SILO CULTURE COMMON TO TRADITIONAL LABORATORY BUILDINGS.

with four interconnecting lab wings over four floors, lit by a long east-west atrium. Walkways criss-cross the main atrium, linking labs and hub meeting areas. Collaboration at the Crick is being encouraged in three ways—through the creation of open plan labs, by scattering scientists across the building and providing hubs for discussion. Primary lab space is as open plan as possible to maximise visual connectivity, equipment is centralised and write up space pushed to the outside corridor to encourage staff interaction.

Both buildings have a very different architectural response to their context.

At SAHMRI the sculptural qualities

of its form aim to attract interest inspire and promote the building’s function. The lifting of the building acts to liberate the ground plane to encourage public interaction and for greater activation and porosity through the site.

The exterior of the Crick building provides strong links between the new institute and the historic buildings in the local area. Both the masonry and the distinctive curved roof recall features of the adjacent St Pancras International station. The main eastern entrance faces a new public square on Midland Road. An auditorium, exhibition area and teaching lab located adjacent the main entrance, underline the Crick’s

fundamental ethos of collaboration, communication and community engagement, opening up the space to the local community and visitors.

This is a key goal shared with SAHMRI. The public has direct access to the Institute’s open and active spaces, cafés and education spaces. This helps to demystify medical research by creating greater interaction with the general public on a daily basis.

Ultimately both buildings will teach visitors and the community about the importance of health and medical research and inspire the future researchers to pursue careers in science and medicine.Jonathan Leah

2014

TIME LINE

JUNE

JULY

AUGUST

SEPTEMBER

OCTOBER

London SalonMartha Swartz presents

Woods Bagot Leave Oxford Street Move to temporary space in Fiztrovia

London SalonVisit Royal Academy Radical Geometry Exhibition

Woods Bagot projectWin Atlas Building Interior Design (145 City Road)

London SalonVisit RIBA Edwin Smith Exhibition

Woods Bagot project Win Doha Metro architecture

Woods BagotConstruction starts at 75 Riding House Street

Woods Bagot projectWarner Music UK HQ launch

Win Ram Brewery Phase 2 Architecture

2015

DECEMBER FEBRUARY

APRILJANUARY

JUNE

Woods Bagot projectDoha Metro—Education City station base slab poured

Woods Bagot Move to 75 Riding House Street

Woods Bagot projectHelix Tower interior and design completed.Woods Bagot London studio’s first dedicated Private Rental Sector project, Helix Towers is a 400-apartment project located in east London. Woods Bagot was appointed to design the interiors of the amenity floors which are seen as the key driver for the success of the project. The client is developing a number of projects throughout London focused on developing communities through their extensive and considered provision of resident amenities. Woods Bagot’s interior design has set a new benchmark for the client’s projects and brand standards.

Woods BagotNick Ling Previously a partner at Foster + Partners—joins the London Studio to take on the role of Design Leader for Europe. Nick’s appointment broadens our studio’s existing design capability for undertaking major architectural projects in Europe. Among his key projects are the Stirling Prize-shortlisted McClaren Technology Centre in Woking, UK

Woods Bagot projectCity Island Marketing Suite.London City Island is Ballymore’s latest scheme to be launched to the public, consisting of 1,700 apartments on the banks of the Lea River in east London. Including extensive community functions and resident communal spaces.

OUTSTATION

New York Take on Tech InspirationInspired by tech entrepreneurs,

some real estate developers in New York City are coming up with creative ways to shake up the market in every sector. This comes as no surprise. Having seen what Jeff Bezos (Amazon) has done to online retail the key questions looming for the real estate industry are: who will be the major disruptors to transform the way we finance, design, build and occupy our cities; and what innovations will they employ to do it? This mindset has created a new lifestyle that is increasingly defining our cities.

Property owners and tenants are

reaching out to the Woods Bagot New York Studio to help them come up with creative solutions to address this new lifestyle. For instance, Woods Bagot recently designed 17 John Street in Manhattan for Prodigy Network. The project reinvents the extended-stay concept by creating an environment where like-minded entrepreneurs are brought together to connect and profit in a kinetic experience professionally, personally and philanthropically. More than just a place to stay, it will be an interactive space in which the best and brightest ideas for a modern hotel experience will materialise—often referred to as a ‘Cotel’. Further, like

most of Prodigy Network’s projects, the $38million project has been funded through crowd-sourced investments—some as small as only $10,000.

Another prime example coming from the workspace sector is co-working giant WeWork, also a Woods Bagot client. Renting sleek, professional workspaces to start-ups, freelancers and entrepreneurs, WeWork has quickly transformed the workplace of today into a collaborative community of creators who, together, build a dynamic, entrepreneurial ecosystem. In a relatively short period of time, the company has transformed millions of square feet of outdated workplaces

into a thriving environment for tomorrow’s workforce.

These tech-inspired lifestyle projects are popping up all across the New York City area. Interestingly, a large volume of the projects occur near to or on the F Train subway line. Referred to as the ‘Silicon Subway’ or the ‘Tech Corridor’, this line connects neighbourhoods such as Cornell University’s NYC Tech campus on Roosevelt Island to Silicon Alley (the old Flatiron District) in midtown Manhattan and across the East River to the Brooklyn Tech Triangle—where the neighbourhoods of DUMBO, Brooklyn Navy Yard and Downtown Brooklyn are radically

changing Brooklyn’s property markets. Some of these markets are experiencing vacancy rates as low as 6%—the lowest in the New York City area. As such, housing along this corridor becomes equally as important.

Fittingly, another Woods Bagot project, Jay Street Residences (above) and Hotel, is currently under construction at the nexus of this triangle. The project will bring 270 residential units and 121 hotel keys into the heart of this community and announce both the arrival to and re-emergence of this revitalised tech-sector in Brooklyn.Chas Peppers

AN INTERACTIVE SPACE IN WHICH THE BEST AND BRIGHTEST IDEAS FOR A MODERN HOTEL EXPERIENCE WILL MATERIALISE —OFTEN REFERRED TO AS A ‘COTEL’

IN COLLABORATION

Artist, Ian Monroe, Discusses his Vision for the Leicester Square Hotel

There are two main goals that I intend this artwork to achieve. Firstly, it should be integrated into the aesthetic and structural context of the building rather than being an amendment to an existing site. This will help to give the building an identity that will still make sense after twenty, thirty or a hundred years. Secondly, it should have a generosity that responds to the movement and perception of the millions of people that will pass through Leicester Square. It should give them a reason to look, to linger, and to feel that sense of excitement when you are discovering something new in a new place.

In order to achieve this, I propose to

use the faience that had already been selected as a major component of the building on all four façades, as the material and location of the artwork. Faience, of course, is a highly plastic material and can be moulded, extruded and glazed in an nearly infinite variety of ways. Thus it is an ideal material in which to pursue these goals as it allows for a high degree of artistic and design freedom whilst also conveying a solidity and richness unique to vitrified ceramic.

The ensuing design stages have resulted in a concept that is based around the idea of a folded or pleated surface that transforms and reveals itself whilst approaching and walking around the building. These glazed folds and creases create a glossy-faceted surface that changes form and appears

to shimmer in a similar way to light reflecting off water. A great deal of consideration has been given to the many vantage points of the site as well as the views from street level on all four façades.

Both the Edwardian Group and Woods Bagot have been very supportive of this endeavor and as a result we have refined and developed the building as a whole by taking geometric and conceptual clues from the artwork and extending them into many areas of the façade. An example of this is the folded zinc fins on the top two floors of the building that repeat and extend the geometric logic of the artwork. This close collaborative process is leading to further refinements and improvements

that will deliver an artwork and an architecture of lasting beauty and interest.

My initial idea for the Edwardian Hotel Leicester Square art commission had two main components. Firstly, the artwork’s concept is to use apertures (inspired by both film and the many hotel rooms that are like small stages that one occupies for a night) to create a sense of drama and depth in the façade, and structurally the artwork would be embedded into the structure and aesthetic fabric of the building rather than a object that appeared to be an amendment to an existing building. In turn, I had hoped that the artwork would influence the geometry of the buildings other details and thus further integrate the artwork and its concept.

Above: Concept paper models by Ian Monroe

COMMENT

London Festival of Architecture The relationship between art and

architecture has long been central to the discourse within the architectural profession. Art as decoration, camouflage or signifier when applied to buildings or buildings conceptualised as art. Every three-dimensional composition which also has architectural qualities deals with the placement of objects in spaces—either outdoors or indoors—or deals with the division of space. Any work of building construction which has liveable spaces need not have architectural qualities; architecture is the art of space arrangement.

It may be said that the profession of architecture is the art of designing and guiding the construction of

buildings. Within our presentation for the London Festival of Architecture, ‘Work in Progress’, we have decided to showcase two of our projects and how the buildings or the clients interact with the art community. One is a very direct and physical relationship that builds on some of the mid-century legacy in Westminster of working with or commissioning artists such as Eric Gill and Barbara Hepworth. The other is a more tangential relationship between client as researcher and patron.Jonathan J Clarke

The London Festival of Architecture runs up until the end of June. Woods Bagot London will be hosting an open studio on Saturday 27th June.

Above: Red Deer Uterus by Mick Frank

COMMENT

Architectual Magic ShowOne of the more interesting

shifts in the dynamics of architectural design in recent decades has been the emergence of architects from the shadows into the spotlight.Wren, Mies and Le Corbousier

were highly influential in their day but didn’t ever make it into the wider popular consciousness during their lifetimes. In contrast, never have the profiles of individual architects been more prominent on the stages of political, business and civic life than at the present time. These magicians of megaframes and conjurers of cladding have emerged with the power to pull skyscrapers out of tiny top hats and grand urban quarters from a flatpack. Their buildings are opened with son et lumière shows and dusted with sprinklings of legerdemain. Their fabulous performances entertain packed houses and they share the celebrity limelight with rock stars and royalty. Above all, clients and governments have recognised the value of welcoming accomplished architects who challenge the status quo into their (magic) circles of strategic decision making. This is architect as both shaker and mover.But new-found power comes with

its problems. The public has become more fixated on the role of the architect in civic life as architects—like sports stars—have moved to centre stage, especially through growing media interest in the profession and its personalities. Vulnerabilities—as well as strengths—are exposed and the viscera of the homes, offices and museums which architects have offered before us are dissected, debated and disputed on the pages of the weekend supplements.Strong personal associations with the characters of new buildings are increasingly ascribed to the work of individual designers and—for better or worse—architects are called upon to stand up and be counted, just like their buildings. Buildings are seen as extensions of personalities; ergo, the personification of the architect through a built form is ultimately held responsible for the impact it makes on the society it serves. Or, at least,

that is the way the media has often come to portray architects—and architects sometimes allow themselves to be depicted. At the same time, feted architects are now less able singularly to soak up the plaudits’ praise while diluting the blame for the critics’ condemnation across the wider design team. They have to wear Frank Lloyd Wright’s badge of ‘honest arrogance’ on—rather than up—their magicians’ sleeves.Should architects try to be

more self-effacing public figures? Unfortunately, many of the end products of an architect’s work don’t do ‘humility’ very well. Some buildings are clearly there to be heard as loudly as they are to be seen; they are expected to reveal alter egos by reinventing themselves every so often in different guises; and, increasingly, they need a wider, distant—and often virtual—public to endorse their contributions to the spaces they occupy beyond those who use and pass by them every day. As the public adopts a more

critical and better informed voice towards the profession, architects are waking up to the fact that it may be the ‘arrogance’ rather than the ‘honesty’ which posterity will remember them for. They will not be around to defend their worst-designed structures against the next generation of critics; yet they surely want to be remembered for helping to make our cities more beautiful—not for disfiguring them. What can architects do to create a lasting and abiding sense of positiveness towards their oeuvre as they slip into the autumn of their years and the revisionists greedily begin to circle the promontories of their mausoleums?Making sure the next generation

of architects and designers understands the context of your work is key. Posterity judges best when it is corroborated by a well-disposed collective consciousness. Employ good people; treat them well; pay them generously. They may just become the great architects of tomorrow who will name check their own sources of inspiration. Distil the design philosophy of your practice into a grand touring

exhibition and allow people from all over the world the chance to experience your buildings in model and virtual formats. Make sure that your work is well documented in images but also in writing (given their propensity for longevity it’s strange how few autobiographies of architects are published). And, most important of all, ensure that you have personally overseen the development of an archive of your achievements which is organised to withstand the rigours of any future investigations.When the spotlight has dimmed

and the skull beneath the skin is finally laid bare, there is surely some comfort in knowing that buildings go on living even after their creators are dead. The breathing, vibrant and human communities which fill the floors, corridors, angles and corners of buildings are what sustains their continued existence. If the architect has worked to deliver an edifice that stands merely as a stubborn monument to self-expression, the critics’ response is unlikely to be rapturous. However, if the building can continually adapt to changing requirements and occupiers are pleased with its performance, then posterity’s encouraging applause may just become a standing ovation.Ultimately, for those

architects making significant investments in their own futures, it is best to think well beyond mere buildings and to wrestle with grander and all-encompassing ideas which consider the long-term development of cities; the dynamics of centres-versus-suburbs-versus-greenbelts; the effective integration of transport systems; and the relationship of citizens with their wider environment.Capture these ideas and

communicate them as an ideology, complemented by a strong portfolio of completed works, and there may just be a place for you in that great architectural gig in the sky. This is architect as urbanist and city maker, finally disappearing in a puff of smoke, leaving an audience of enthralled spectators gasping, asking: “How did he do that?” And wanting some more.Paul Stelmaszczyk

WHAT’S ONLONDON

EXHIBITIONS:

What is Luxury?A V&A and Craft Council ExhibitionVictoria and Albert Museum25. April – 27. September 2015Free

The EY ExhibitionSonia DelaunayTate Modern15. April – 09. August 2015£14.50

Pangaea II:New Art from Africa & Latin AmericanSaatchi Gallery11. March – 06. September 2015Free

RaviliousDulwich Picture Gallery01. April – 31. August 2015£12.50

Wildlife Photographer of the YearBrighton Museum02. May – 06. September 2015£5.00

Art & Poster Store ToursLondon Transport Museum Deport05. January – 30 November 2015£10.00

Forensics:The Anatomy of CrimesWellcome Collection26. February – 21 June 2015Free

The BP ExhibitionIndigenous Australia: Enduring CivilisationThe British Museum23. April – 02. August 2015£10

Design of the Year 2015Design Museum25. March – 23. August 2015£13

Adopting Britain:70 Years of MigrationHayward Gallery17. April – 6. September 2015Free

The Chinese PhotobookThe Photographers’ Gallery17. April – 5 July 2015Free

REVIEW

Exhibition:Alexander McQueenSavage BeautyExhibiting at:Victoria and Albert Museum

Until 2nd August ,the V&A is hosting a magnificent show, the life’s work of legendary British fashion designer Alexander McQueen. The exhibition is a mesmerising experience that will leave you wandering why this talent had to leave us so early in his life.

Alexander McQueen was born in London. At the age of 16, he trained as a tailor on Savile Row. McQueen first worked with theatrical costume and fashion designers before studying fashion design at Central St Martins and remained a true visionary up until his suicide in 2010.

Entering the exhibition, you are met by McQueen’s skull image on a large screen and you can truly feel his presence throughout the show.

The exhibition is divided into themed rooms including bespoke mannequins and beautifully designed sets by McQueen’s long-term collaborator creative director Sam Gainsbury, and production designer Joseph Bennett, along with well-considered lighting and some incredible, and often haunting, sound design.

Rooms include London—an epicentre for McQueen—setting the scene with iconic early works including his Bumster trousers, with more revolutionary early creations in the next room, Savage Mind. Black leather and golden feather, Victorian-inspired creations mix lightness and darkness in Romantic Gothic, a room of Poe-esque ‘shadowy fancies’, as McQueen once remarked.

For me, the Cabinet of Curiosities has the most thrilling displays, with inspirational one-off creations, extravagant, bejewelled silhouettes and fetishistic accessories, along with AV displays of some of his notorious catwalk shows. Iconic pieces include the spray paint dress rotating in the centre of the room, originally painted by two robots in the live show; examples of his signature armadillo shoes; and the butterfly headdress made from hand-painted turkey feathers.

The next room is home to a brilliantly clever film installation of the emotional finale to The Widows of Culloden show, featuring Kate Moss suspended as an ethereal form, involving the ‘Pepper’s Ghost’ technique, using projectors and mirrors.

This is a truly amazing show you shouldn’t miss!Maria Papayannakis

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