Today overgrown by the surrounding new high-rises of the City, the Lloyd’s building was once much more exposed contour of the skyline. It might have not suited everyone’s taste but it was an unequivocal announcement of the new era for the city of London.
This architectural parade of tehnical shapes once again launched Richard Rogers, its author, into the top of the innovators of the time. The essence of hi-tech architecture, younger cousin of Centre Pompidou in Paris, was a sight used as a film location number of times. No wonder, as it remained a Neo-futuristic, Utopian, Dystopian and Avant-garde icon thirty years after it was built.
The metabolic facade is assembled out of metallic tubes, installation ducts, cylindrical stainless staircase envelopes erected on brutal, exposed concrete. Structure is architecture, installations are architecture, and architecture is a machine.
The main facade is actually not outside of the building, but inside, opened to the giant 200 ft tall atrium cross-linked by dozens of escalators affording the most spectacular of the peeks into the future. The barrel-vaulted roof brings the natural light into this hive. All the partition walls of the building can be removed, allowing the structure to tailor to the needs of its occupants.
And like it wasn’t enough, instead of the storks, the service cranes populate the roof adding to the impression of work in progress, a factory and a mechanical organism.
Love architecture? Purchase this exclusive photo of the Guggenheim by Stephen Je