Friday, March 7, 2008

Strange Thing


This strange disembodied spire sits in the little park off Hoxton Square. Presumably it is the remains of a destroyed church and acts as a kind of memorial. I couldn't find out the day I took the picture as the park was locked. It reminded me of a story I heard about Peter Palumbo, the developer of the Mansion house site (now occupied by the James Stirling designed No. 1 Poultry), who kept the cupola of the demolished Mappin and Webb building on a spike in the grounds of the Farnsworth House, which he owned at the time. Through this act of violence - a kind of venal developer version of Gordon Matta Clark - Palumbo managed to turn a piece of architecture into a piece of art, or at least a piece of representation. Because a fragment of a building is no longer a building exactly, but a representation of an absent building. Jonathon Hill has argued that the Barcelona pavilion became a piece of art when it was knocked down. Experienced solely through iconic black and white photos (until it was re-constructed in the 1980's) it was consumed not as a live building but through the pages of art history. Adolf Loos thought that the only buildings with claims to art were the tomb and the monument. A little (or large depending on where you stand) part of architecture always wants to be experienced this way, as a piece to be contemplated at a distance. By amputating bits off them, making them practically useless, buildings become fetishised as objects of contemplation.

A Bas Piazzas!


Lately I’ve been troubled by squares. In particular with a square near my house. Gillett Square was built in the first phase of the mayor’s 100 Public Spaces for London. Formerly it was just Gillett Street, a side road leading to a car park off the Kingsland Road in Hackney. Now it is a piazza.

Gillett Square has been equipped with all the accoutrements of the modern urban public space: granite paving slabs, stylish stainless steel street lamps, contemporary looking benches. It looks the part. Trouble is there’s never anyone in it. This is odd because as anyone who’s ever lived there will testify, there are very few quiet bits of Dalston. It’s one of the liveliest places in London. Music pores from the mobile phone shops, lay preachers bellow in your ear through loud hailers at Ridley Road market, nutters congregate around the entrance to Dalston Kingsland station.

Gillett Square though is consistently eerily empty. No one sits on its contemporary benches and the stylish street lamps march forlornly over the granite setts like pylons in some blasted landscape. Along one edge of it are some small kiosks offering the ubiquitous services Dalston has to offer: mobiles unlocked, Jerk chicken, nail painting. There’s a bit of action around these but these kiosks predate the square and they’re not nearly as busy as their counterparts on Kingsland Road.

Gillett Square is based on a misconception. It assumes a static and unmoving conception of how our cities are inhabited and what constitutes public space. Urban designers and architects are obsessed with public space. It is assumed to be a positive, vital element within our cities, a place where we come together to perform spontaneous acts of public communion. What’s more it represents the apogee of the civic claims of the city. This assumes that the physical proximity encouraged by urban density translates into a communal or spiritual proximity: a literal and metaphorical shared space.

Conversely, suburbia is accused of constructing social atomisation through its lack of physical density. Whether travelling by car, shopping in vast retail parks or living in detached houses surrounded by miniature versions of medieval moats and picturesque ha has, suburbia, it is assumed, accentuates social distance. The civic qualities of social participation assumed to be encouraged by physical proximity therefore privileges the city as the model for how to organise settlement. If the by-passes, cul-de-sacs and malls of suburbia stand as short hand for its inability to foster civic qualities, the piazza, squares and pocket parks of the city are seen as the opposite. The piazza represents the aspiration of the city as positive social condenser.

Not only does the above ignore many of the effects of digital culture, our ability to some extent to be in a number of different places at the same time and find common cause regardless of geography, it also ignores the realities of contemporary urban life. Wander away from the emptiness of Gillett Square for example and you will find a wealth of public spaces. They just aren’t where we, as architects, are looking for them. The real public spaces of Dalston are the nail bars and all night hairdressers. These places act way beyond their immediate function and form spaces of constant social buzz and interaction, At midnight on a Friday they’re packed. People hang out, chat, listen to music. Meanwhile Gillett Square stands empty, waiving its classical credentials as an increasingly hollow gesture. The problem here is not so much the ubiquitous turd in the plaza as the plaza itself.

Communities are constructed not through architecture but through social connections.
Architecture arises as an expression of this as much as it produces it. The imposition of classical urban form does not generate society spontaneously like a boiler generates hot water. Not only that but it ignores the way that communities are formed and the variety of places where that form is given public expression. You might go further and say that our concept of how to plan cities needs to shift. That we cannot rely on the platitudes of received urban form to give articulation to shared spaces and common ground. Perhaps we should question the idea that community is formed only through physical proximity or that this proximity finds its ideal manifestation in the form of the piazza. An expanded understanding of what constitutes public or shared space might help too.

I can hear the distant rumbling of Aldo Rossi turning in his grave of course, and there are dangers in architects trying to design for spontaneity or randomness. Certainly this is not really a formal question, which is what architects prefer after all. It’s more about being attuned to the subtle demographics that modify architectural space. The things that we do rather than patrician notions of what we should be doing.

Perhaps the city should stop being held up as the ideal way to live too. After all there is an inverse to all this longing for proximity and sociability in architecture. That is the desire to escape the city, to be alone. I’m hoping that’s the subject of the next post.

Saturday, March 1, 2008

Robin Hood Robin Hood, With Your Band of Men


Am I alone in being, at best, agnostic about Robin Hood Gardens and Building Design'scampaign to save it from demolition. A few things worry me about this campaign, some of which are:

1. I’m always suspicious when architects rally together. It always spells nepotistic self interest. Witness Denise Scott Brown (who I’m a big fan of otherwise) suggesting Robin Hood Gardens should be saved in order to initiate a reappraisal of the Smithson’s legacy. The canon of architecture and the Smithsons’ place within it are therefore more important than the residents who live there. Note to architects: it’s not always about you!

2. BD’s ‘statistics’ that residents want to keep the building are, if anything, even more unjustified and dubious than English Partnerships’ ‘statistics’ that those same residents want to demolish it. I can’t help but think that the resident’s genuine wishes are being manipulated by both sides.

3. Richard Rogers apparently objects to the over densification of EP’s proposals (do these exist? Are they real?) which is a bit steep coming from someone who has been preaching the gospel of inner city densification for the past decade.

4. Were the Smithsons actually that good? I know I know, I am a big fan of the Independent Group and the Smithsons definitely said some interesting things but the buildings? I’ve visited a few of them in my time, went to the exhibition of their work at the Design Museum and mostly they strike me as pretty strange rather than actually all that great.

5. Weren’t the Smithson’s and their generation quite against the preservation of old architecture for the sake of it? I’m not pro-demolition of anything, quite the opposite, but I find it a bit rich being lectured on conservation by tabula rasa Modernists.

6. The comparison of Robin Hood gardens with Bath’s Royal Crescent is bollocks.
Modern architects went through a phase of making comparisons to classical architecture, usually on the most spurious grounds. This has always seemed to me a particularly crass and pointless example of it.

7. What is being protected here? The failings of the architecture profession?

8. I’ve nothing against streets in the air. I live in a pre-fabricated block of flats with open deck access. It’s considerably less horrible than Robin Hood Gardens though.

9. Next door to Robin Hood Gardens is Erno Goldfinger’s Balfron Tower. It’s better in every conceivable way.

10. I have never met anyone who isn’t an architect who likes it. Now, that could either mean than all my friends are philistines or that Robin Hood Gardens isn’t actually very nice.