Monday, March 10, 2008

...but today we collect ads




This Peter York presented survey of the british advertising industry is viewable on bbc iplayer for the next few days. Timed presumably to coincide with the much hyped US drama Mad Men, York's survey concentrates on the supposedly halcyon days of the late '60's and '70's when ads were directed by people like Alan Parker and David Puttnam. It was during this period that the British ad agencies gained their slightly questionably reputation for innovation and creativity. What is interesting - and what makes up for having to sit through interviews with the odious Tim Bell - is seeing the way that advertising played out very British issues of class, etiquette, social embarrassment etc., usually foregrounded as comedy and used to sell us stuff. Fairly unthinkable just a few years before.

More interesting still is this fascinating archive documentary (from the BBC's dubious White Season) about class from 1966 which attempts to analyse the A,B,C etc social catagorisations that underpinned much of the assumptions behind the adverts described by York. The level of plummy-ness of some of those interviewed is quite remarkable, as is the voice of narrator Trevor Philpott, who's own received pronunciation and BBC patrician tones are obviously assumed to not be part of the content of the programme. York too is posh, but in a raised eyebrow slightly camp way that makes him sound like he's being arch even when he's not. The programme is a bit low on analysis and full of rather rubbish "Britain was booming and the sixties were in full swing" type generalisations but still this is a rare piece of semi-serious social history.

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.