Thomas Heatherwick on Building with Emotion
Having unveiled his first car design and Manhattan’s newest park Little Island, design icon Thomas Heatherwick talks to Jing Zhang about soulfulness in cities and why building with emotion is now more critical than ever.
It’s been a busy few months for the Heatherwick Studio but their London’s King Cross headquarters seem almost empty with most staff working from home. Warm light still casts a glow over a colourful collection of curios. Plants spill out lush greenery from their pots, giant Lingzhi mushrooms dominate one table, beaded neckpieces cover a wall, a Chinese lion dancer head tops a shelf. In one corner, Thomas Heatherwick, clad in a cool shirt and designer camo trousers, shows me a collection of clay vessels made from cow dung.
“Life is too short to waste your time repeating yourself endlessly,” says the radical British designer, architect and inventor. “I’m more interested in inventing something in particular for a certain place…The places that I’ve always loved are ones with a lot of character.”
Just this past month they’ve unveiled the concept for the new Airo EV car for Chinese automaker IM Motors, one that cleans pollution from the surrounding air through a HEPA filtration system: “just because cars are electric doesn’t make a city good, just because they are less bad doesn’t make something good,” says the softly spoken Heatherwick. An actual air filtration and cleaning system seems all the more relevant since Covid. Plus EVs are hot property. And then there’s been the grand opening of Little Island, a ‘park on a pier’ in New York. So, no big deal then.
The allure of Heatherwick’s creations resonates around the globe but as a body of work, there’s also mind-boggling range. Having made his mark with
I WOULD ADORE TO WORK ON MORE PROJECTS IN INDIA BECAUSE THE COUNTRY IS ONE OF THE LAST COUNTRIES ON THE PLANET THAT STILL HAS A NETWORK OF PHENOMENAL CRAFTSMANSHIP THROUGHOUT THE NATION.”
groundbreaking projects such as his UK Pavillion ‘seed cathedral’ for the 2010 Shanghai Expo, the almighty honey-combed Vessel in New York’s Hudson Yards, redesigning London’s classic Routemaster red bus and a dazzling, morphic Japanese Temple in Kagoshima - dull repetition couldn’t be further from Heatherwick’s repetoire. There’s been skyscrapers, a distillery, a hospital, a perfume bottle for Christian Louboutin, the London Olympic ‘cauldron’, a very famous chair and a little bridge in Paddington that lifts up from one end and ‘kisses’ itself.
In the flesh Heatherwick is earnest and gentle – a rare blend of conceptual conviction and
British self-effacing charm. There’s full-throated talk of “heart” and “emotion” when he speaks about architecture, especially those supposed to inspire sociality. In cities, that often manifests a battle against that historically “functionalist mindset that was also conveniently very cheap and could be cynically rolled out anywhere in the world”. The fight against the unification of urban centres around the globe into “pretty catastropic blandness” has drawn his ire, and the studio to unique projects with “their own thumbprint.”
He really should be in Manhattan right now. We speak on the day that Little Island (Pier 55) opens to the public – a vision of regeneration for the area and poignant timing as the city bounces back postCovid. New York’s newest park seems to float over Hudson River atop pillars with an amphitheatre,
sloping walkways and gorgeous greenery.
“All pubic projects are really hard to do,” the designer admits. “There’s a tiny margin between making something happen or not…it’s very difficult but it’s just part of the territory” The 2.4 acre, US$260million island construction (funded by billionaire Barry Diller and the Furstenberg-Diller Family Foundation) is almost 9 years in the making. A complex feat of design and civil engineering, the project almost halted under legal, political and technical challenges before the likes of Diller, Governor Andrew Cuomo and Mayor Bill de Blasio all came together to save it. The public response has been overwhelmingly positive since opening.
“Many people don’t realise now many challenges there are to things ever coming into a reality,” Heatherwick says of what’s involved in redesigning high profile public spaces. A long story of funding and politicking also plagued his Garden Bridge proposal in Heatherwick’s hometown of London, with the project eventually scrapped: “I suppose some of the confidence that existed in previous centuries and decades had evaporated,” he says.
Growing up in 80s London where “you felt like nothing would happen”, he thought that he’d work despite this, soon recognising that you’d need much endurance to see ideas to completion and that bitterness was not uncommon in the industry. Now leading a team of 200 who work on 30 different projects at any one time; over the last 20+ years, the design maverick has felt luckier than he’d ever thought in making projects actually happen.
Through making what many call ideas and ‘buildings of the future’ – some fantastical and almost otherworldly (though never veering too close to typical futurism) Heatherwick has trail-blazed. But if there’s a common thread to his work it’s been that urge to humanise places and spaces “to make them more particular and less generic.”
The sculptural lattice of the Hudson Yards
Vessel building in New York, for example, is
I BELIEVE THAT INDIA COULD TEACH THE WORLD HOW TO BE TRULY SUSTAINABLE WITH SOULFUL, DOWN-TO-EARTH CLIMATICALLY-DRIVEN PLACE-MAKING THAT SEES THE ROLE OF BUILDINGS AS SERVING PEOPLE RATHER THAN PEOPLE BEING SUBJECTED TO THE WILL OF ELITE DESIGN IDEALS.
built “on the heritage of public space in the city” incorporating a mile of public space around it and inspired by an ancient north Indian stepwell structure. He envisaged a bowl-like amphitheatre but porous to it’s surroundings so “perforating it made sense.” Images of the stepwells in Rajasthan revealed “incredible structures dug down into the ground to access water….There was almost a choreography in the beauty of these staircases and landings taking you down.” The studio took “that textile-like rhythm” and lifted it up to create a honeycomb form where you could see in and out and use your body to engage. Again, it was an idea they thought might never happen.
Whether it’s this or revamping a dated
Pacific Place mall in Hong Kong into all warm glow and curving fluidity, the reinvention of Coal
Drop Yards from industrial wasteland into a buzzy Central London hotspot, or for more obvious reasons Maggie’s Centre for cancer patients in Leeds, there’s emotional provocation
loaded into Heatherwick’s wonderful work.
The inclination towards soulfulness has made his ethos all the more compelling as cities adjust to life after Covid. Fear of crowds and flexible working has meant deserted office highrises and bustling main streets return at only a percentage of former capacity. Now less people HAVE to be in city centres all the time,“it’s profound and changes everything.”
“It amazed me that we got away so long with building such un-human-centric places,” he says. “There are very low public expectations to public space and you think of the worst places whether that’s hospitals, schools, public transportation.” Heatherwick has worked on all three categories. With this social current shift, the designer is hopefuly that smart leadership minds will be driven to think from “the emotional, experiential eye-level view of all of us,” rather than just having a top-down approach treating people as cogs in the machine of our built environment.
What does this mean for the future of the city? So many, especially those in Asia, are throwing up ever more dramatic skylines wrought in concrete, steel and glass. Creating structures that merge nature and architecture as become somewhat of a Heatherwick signature. A plant filled medical centre for cancer patients was beautiful and meaningful – and you find lush green swarthes all over his residences, commercial and public spaces.
Unveiled in Singapore this year were lush tropical leaves dripping from clamshell balconies at the biophilic 20-storey residential Eden project, a Swire development. Finishing in 2022, his huge 1000 Trees multi-use complex in Shanghai along the Huangpu River attemps to make a part of city worth going for the public anytime, not just an inviting home for residents or guests. And whilst the trees will take 21 tonnes of carbon out of the air per annum when finished, “that’s not the primary reason we’ve done it, we’re thinking about emotional experience” and elements that changes over time.
Within Asia, Heatherwick has been a major hit with multiple projects in China, Hong Kong and Singapore. As cities gain confidence for a new urban personality, he welcomes rebellion against the bland and basic. Well aware of the optimism in much of the region, especially in
China, the designer through his many travels has witnessed the movement towards aesthetic selfdetermination and away from mirroring the West.
This all means the region is fertile space for the world’s most ambitious designers and architects – particularly those who have something really interesting to say. Design should always be sustainable by nature because “it’s your job to design places that matter,” he states. Places with “emotionally sustainability” hold a sense of soulfulness and have to mean something to people – that’s one of his enduring goals. ‘Mattering’ isn’t about just creating beauty, smooth functionality or even eco credentials, for Heatherwick “it all has to go back to emotion.”
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The author Jing Zhang is the Editor-at-Large
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DESIGN SHOULD ALWAYS BE SUSTAINABLE BY NATURE BECAUSE “IT’S YOUR JOB TO DESIGN PLACES THAT MATTER. PLACES WITH “EMOTIONALLY SUSTAINABILITY” HOLD A SENSE OF SOULFULNESS AND HAVE TO MEAN SOMETHING TO PEOPLE – THAT’S ONE OF HIS ENDURING GOALS. ‘MATTERING’ ISN’T ABOUT JUST CREATING BEAUTY, SMOOTH FUNCTIONALITY OR EVEN ECO CREDENTIALS.”