Architecture
Since its earliest days, the zoo has prided itself on appointing leading architects to design its buildings, today it holds two Grade I, and eight Grade II listed structures.
The initial grounds were laid out in 1828 by Decimus Burton, the Zoo's first official architect from 1826 to 1841, made famous for his work on the London Colosseum and Marble Arch. Burton's work began with the Clock Tower in 1828 above what was then the llama house, which today is the first aid kiosk. In 1830 the East Tunnel, which linked the north and south parts of the zoo together for the first time, was completed, which also acted as a bomb shelter during World War II. Burton concluded his work in 1837 with the Giraffe House, which, due to its functional design, still remains in use as the Zoo's giraffe enclosure in the Into Africa exhibit.
After Burton, Sir Peter Chalmers Mitchell and John James Joass were appointed to design the Mappin Terraces. Completed in 1914, the Mappin Terraces imitates a mountain landscape to provide a naturalistic habitat for bears and other mountain wildlife. In 1933 the Round House, designed by Berthold Lubetkin's Tecton Architectural Group to house gorillas, was one of the first modernist style buildings to be built in Britain. The following year the Penguin Pool, also designed by Tecton, was opened; both are now grade I listed.
The Snowdon Aviary, built in 1964 by Cedric Price, Lord Snowdon and Frank Newby, made pioneering use of aluminium and tension for support. A year later the Casson Pavilion, designed by Sir Hugh Casson and Neville Conder, was opened as an elephant and rhinoceros house.
Read more about this topic: London Zoo
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)
“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)
“All architecture is great architecture after sunset; perhaps architecture is really a nocturnal art, like the art of fireworks.”
—Gilbert Keith Chesterton (1874–1936)