Book a table with us at Curtain Road You can takeaway your favourites from our restaurants all over the country. Simply click & collect. Come and find us 49-51 Curtain Road, London, EC2A 3PT You’ll find our comfy restaurant in Shoreditch, tucked inside a listed warehouse conversion. It spans 2 floors, and blends PizzaExpress’ classic design features with the building's original characteristics.Curtain Call - The Curtain AgencyDesigner Fabric Second Hand Curtains3 Church Street Cobham SurreyKT11 3EG01932 860919Open 10 am to 5pm Monday to Saturday to be redirected to Curtain Call website please click here Curtain Place is a six-storey development situated through a narrow entrance in the heart of Shoreditch. The use of a hybrid steel and CLT structure ensured that this scale of project could be undertaken to a high standard, despite the constricted access. The first three storeys project onto a planted courtyard, and form a workspace element, clad in dark brickwork and zinc.

Above this, stepped back in line with neighbouring buildings are three residential floors, demarcated with white brick. Steel columns and beams on the lower floors carry the transfer loads of the setback structure, whilst the CLT building core, floor slabs and external walls vastly reduce its weight. The exposed modern timber and steel engineering give the workspaces a contemporary, stripped-down feel, and sawtooth glazing maximises views back onto Curtain Road. The discrete, set back residential floors house nine south-facing apartments, built entirely from timber. The stepped form gives access to a shared outdoor balcony with views out onto east London.Nicholas Serota, director of TatePhoto: Courtesy Fondazione Sandretto Re Rebaudengo Sir Nicholas Serota, outgoing director of London’s Tate, who is known for usually remaining tight-lipped, broke with his norm on Wednesday to advise the unhappy residents whose homes neighbor Switch House, the new Tate Modern extension, saying “If you want privacy, get net curtains.”

Those complaining are irritated about the newfound display upon which they have found themselves in the wake of Tate Modern’s recent expansion. The museum’s new addition overlooks the private residences of the Neo Bankside building (which, according to The Guardian, includes some homes as close as only 20 meters from Switch House), thus giving museum-goers the ability to observe people in their luxurious homes. But, despite their proximity, inhabitants of these apartments are not part of the new hang on display at the Tate Modern, and the museum itself was forced to remind visitors of this fact. Serota explained that a sign has been displayed stressing that people were, “not to gesticulate, to recognize that people who live nearby have a right to some privacy.” The Neo Bankside apartment building, designed by Rogers Stirk Harbour, sells homes to the tune of a cool £4.5 m ($5,842,057), and their design and exclusivity may perhaps contribute to the public intrigue surrounding them. 

“I could swear I spotted a Francis Bacon,” a recent visitor to Tate’s Switch House said to artnet News, not referring to the hang inside the museum.plain duck egg blue eyelet curtains artnet News further reported that local politician Adele Morris described people “literally hanging over the balcony and taking photos of [the residents’] rooms and then posting them on the internet.” dna curtains eric greeneMany of these have appeared on social media, including Instagram.pvc strip curtains glasgow Yet, Serota seems to harbor no sympathy for the inhabitants of these high-scale apartments, offering the not-so-subtle rebuttal: “I need to repeat the fact that clearly people purchasing those flats were in no doubt that Tate Modern was going to build its new Switch House building and the character and uses of that building were widely known. gathering pencil pleat curtains

People purchased with their eyes wide open,” he concluded. Beloved artist and UK national treasure Grayson Perry then threw his hat into the mix, speaking on Radio 4’s news program World at One, stating that this was now a class row. cranberry blackout curtainsHe pointed out that net curtains are widely considered a working class furnishing item and are effectively banned in some high priced developments. ikea petra curtainsHe also added that although he had some sympathy with the residents, many working in the arts were having to leave the capital due to rising house prices and the disgruntled residents should “embrace it, or move.”19mm black nickel curtain rings Follow artnet News on Facebook.

Designer Drapes was started in 1987 by Ian Barrington. Since then, it has developed into a fast growing business. We have a strong belief in the importance of the relationship between business and customer, and always strive to make sure you are satisfied. Monday - Saturday:9:00am - 5:30pm Like our Facebook Page The project is located within a conservation area defined by Georgian brick buildings and requiring retention of the existing urban block. The building prior to development was four storeys (G, B+2) in height and is fully remodelled behind a retained brick façade. Above this, three new floors of contemporary office space are added, extending the building to 7 storeys in total, almost doubling the usable area. Planning permission was obtained in September 2011. Construction commenced in November 2012 and completed in October 2013. The building plot for 141-145 Curtain Rd, sits within a dense urban block of Georgian properties both commercial and domestic in scale of various widths and heights resulting in a ‘chipped tooth’ silhouette fronting onto the street.

Each building block has an individual order of floor plates and windows. The unified whole is therefore characterised by a sequence of window rhythms consolidated by brickwork which stitches the entire urban block into one chunk. The local conservation authority were keen to preserve the block in its entirety and therefore in spite of the low grade historic value of the individual plot and the complexity to retain the facade for high end commercial use, the facade had to be retained for the development to be viable. 141-145 is a configuration of three domestic scale properties which have become conjoined into one demise over time with a shopfront at ground level. The challenge therefore was to retain the domestic scale windows within a commercial office use as well as to consider the proportional impact and aesthetic quality of the multi storey addition. The structural complexities required to retain the facade fronting onto the main high street imposed substantial constraints on time and programme.

To generate the required area of 20,000sqft, a further three storeys were necessary within the permissible building footprint which is defined by the alignment of the front facade at street level and the rights of light (RoL) envelope at the rear. There are 7 floors in total (B, G 1-5) diminishing is size as you ascend. Logic and efficiency dictate the plan arrangement. A compact circulation core contains toilets, showers, lift and stair, and is orientated on the tallest side of the building. The offices are maximised with external terraces also carved out of the RoL envelope. The ground and basement are intended for retail use. As such two entrances at ground level occupy either end of the facade - 141 leading to the upper office levels and 145 directly into the retail unit. Ultimately the building is flexible and can accommodate a single or multi tenant let. To retain the gravitas and independence of the urban block, the additional storeys are designed with an ambition to achieve a lightweight object quality restrained from any references to the adjacent heavy masonry structure.

Scale references to the adjacent buildings window punctuation are stripped back by reducing the extension to optimum modules horizontally and vertically. The materials are reduced to mesh and glass with minimal panels and visible jointing. The lack of reveals to windows are intended to further communicate the delicate object form by disguising the depth or make-up of the construction. This object quality is further reinforced by the deep recess to the upper 2 storeys. By revealing a portion of the existing brick flank to the adjacent building block (139 Curtain Road) the weight of the existing fabric is further communicated. This obviously reduces nett lettable area but is counterbalanced by a maximised envelope to the rear. Also the precise fit of the building between party walls without visible overdressing of flashings is intended to allow the extension to read as an independant form intended to appear simply resting ‘upon’ the facade below and ‘between’ the adjacent warehouses.

A 50mm gap is detailed between the existing masonry and the extension and projecting copings are omitted in lieu of self-draining window sections. A grid is imposed on the front facade to respond subtlety to the 3 bay house facade below. The plot is trapezoidal in plan and as such a diagonal grid sets up positions of facades and balustrades to the rear. The grid is further enforced at the rear, with smaller staggered terraces, articulating the building where the mass responds to a RoL envelope. Thus a proportional logic of panel size - mesh and glass - is utilised across the facades with the positions of balustrades also defined by the RoL envelope. The visible facade is made up of mesh and large bonded units. The principle behind the entire facade construction is to use a simple curtain walling system where possible, with bespoke inserts to achieve the non standard details. The bonded glazed units are tied back to the main super structure. The mesh is bracketed off the curtain walling to meet the same plain as the bonded units and to achieve the flush outer layer.

This principle continues around the entire facade front and rear. In order to maintain a reading of the building as a whole the colour palette is carefully calibrated to respond to the masonry tones from grey concrete mortar to mid brown bricks. The reflectance of the materials increases as you ascend to sky and the textural quality of each material selected is emphasised by various means. A champagne coloured anodised metal panel is used for the mesh on the upper storeys. This is perforated with small holes achieving 40% free air flow and is also calculated to appear almost invisible from the inside to retain views across London. A waved profile adds another layer of light quality maximising incident sun throughout the day. The anodised surface is iridescent in sunlight. The transition from the mesh to the glazed bonded panel is carefully managed by introducing a matching fritt within the double glazed bonded unit. This softens the overall appearance of the glass which would normally be a contrasting frame and fritt colour.

Felt curtains have been introduced to the larger windows fronting onto the street to extend the waved mesh detail across the entire facade. The brick has been lightly cleaned and repointed where spalling with the intention to retain the relic with minimal surface alteration. All concrete lintels and cills and window frames are painted a matt colour to match the brickwork attempting to simplify the reading of the retained element. At ground level the shop front is framed in concrete supporting the building mass above. The glass panels within being as large as is permissible with the constraints of the tight street and working zone. Again a fritt has been selected to match the concrete colour to soften the junctions. The colour treatment stops at the facade. As a rule the entire office units are white including light fittings and all exposed services. The building has been a challenge in many respects mainly imposed by the condition to retain the existing facade. To an extent the process to retain it required extensive counter intuitive construction works.

The delicate quality of what is deemed to be ‘permanent’ and of historical value has been exposed through the very process of having to retain it. An installation by Richard Wilson at Liverpool Biennial 2007 entitled ‘Turning the place over’ played on this very condition. A permanent gritty piece of city fabric is explored as an adaptable component. An abstract portion of the facade was mechanically rotated exposing the inside. Similarly, this revelation of the building fabric became an interesting part of the construction journey that was to be capitalised upon particularly given the visibility of the works from the street and the opportunity to promote the building as a theatrical contribution to Shoreditch, perhaps calling out to a particular tenant typology or exposing a opportunity to use the building in an unconventional way. The construction works required an oversized steel temporary structure to protect thefacade from falling which needed to be pinned back to the superstructure.

The entire shopfront below was removed leaving the brick facade suspended to allow alterations to take place behind it. Due to the close proximity to the street and the restrictions imposed by the Olympics 2012, temporary scaffolds and coverings were kept to a minimum thus the entire build process was evident throughout the construction phase. Due to the size of the bonded panels a complete weekend closure of Curtain Road to permit safe cranage positioning and installation was necessary. An installation by Tim Etchells was exhibited to expand upon the theatrics. The piece was installed for 6 weeks from September to October 2013. The neon piece entitled ‘shouting your demands from the rooftops should be considered a last resort’ was selected for its obvious irony in the context of imminent marketing of the building, but also to demonstrate the opportunity to use the high level glazed pods for exhibition. The neon had the obvious benefit of retaining visibility during the dark early evenings.