Most people are fascinated by ruins. The appeal of the crumbling and the decaying is such that it has its own term in photography. It is called "ruin porn" and Detroit is one of its most celebrated subjects. Tate Britain currently has an exhibition about the mournful, thrilling, comic and perverse uses of ruins in art. It is called Ruin Lust. Not because Tate curators are prude and proper but because they are erudite, the title of the show, i read, comes from the 18th-century German architectural word Ruinenlust.
The exhibition begins with the eighteenth century's fascination for ruins among artists, writers, architects and travelers. Think J.M.W. Turner and John Constable. I can't summon much enthusiasm for paintings, etchings and sculptures of the past so i'm going to stop the romantic trip here, shamelessly skip the first parts of the exhibition and focus solely on contemporary works. Most of them photography.
Contemporary artists see ruins, not simply as scenes for aesthetic pleasure and remembrance of past glory, they also question their essence and even view them as as sites of rebirth and new opportunities.
Even if i deliberately only enjoyed a small part of Ruin Lust, i exited the show content and ready to enjoy any overlooked and crap-looking bit of urbanism London has to offer (before they become a real estate 'prime location'.)
Here is a hasty tour of the show. It represent only a very subjective and photography-heavy perspective of it:
Jane and Louise Wilson have long explored architectural spaces that evoke power and control. The artists started photographing decaying Nazi bunkers on France's Normandy Coast, after having read an article by J.G. Ballard on their place in modernist architecture. "We were intrigued by the World War II bunkers that were being drawn back into the water," Jane says. "It was like something from an ancient civilization, but darker."
The Russian Ending, by Tacita Dean, is a series of photogravures with etching inspired by postcards documenting disastrous events. The title of the series refers to a cinematographic practice of the early 20th Century when the last sequences of European movies exported to America and Russia were filmed twice. American audiences would watch the 'Happy End' while a 'Tragic End' was made for Russians.
Adam Broomberg and Oliver Chanarin have photographed marks and drawings made on the walls of what seems to have become a tourist hotspot in the town of Sulaymaniyah in the Kurdistan Region of Iraq: the Red House. The building was originally the headquarters of Saddam's Ba'athist party. It was also a place of incarceration, torture and often death for many Kurds. Broomberg and Chanarin
The artists photographed the marks left by Kurdish prisoners. We cannot tell what marks were made when and in what order. History presents itself as a palimpsest. If you wish you can sense in these photographs echoes of Brassai's surrealist images of scratched grafitti from 1930s Paris or Aaron Siskind's photos from the 1950s of daubs and tears made in hommage to abstract expressionist painting. But the context is more pressing and more fraught. The traces recorded by these photographs may relate to past events in the history of the Red House but nothing is settled in Iraq yet. While the photographs are fixed forever, these may not be the last marks made on these walls - David Campany.
In 1984 and Beyond, Byrne re-enacts a discussion, published in Playboy in 1963, in which science fiction writers - including Isaac Asimov, Ray Bradbury and Arthur C. Clarke - speculated about what the world might be like in 1984. Unsurprisingly, they were way off the mark.
Black-and-white photographs accompany the video work look like they came straight from the 1960s but if you look better you realize that they show objects, landscapes, cityscapes and scenes that might just as well belong to 1963, 1984 or now. They show the future that might have been, that probably never was but that still loiter in today's world.
Keith Arnatt's deadpan series A.O.N.B. (Area of Outstanding Natural Beauty) subverts the idea of what is picturesque and what deserves to get our attention by pointing the camera to the most prosaic man-made interventions in the landscape.
Five Sisters is a derelict land site in the Midlothian and West Lothian area which John Latham, during his artist's placement with the Scottish Development Office, recommended they be preserved as monuments. He also proposed that the 'bings' (huge heaps of coal waste) should be preserved as monuments. Latham's proposed to erect sculptures, in the form of books, on the summits of the 'bings'.
Instead of working like a photojournalist and look for dramatic scenes to document, Graham searched for subtle traces of political instability left in the landscape. Graham said: "It's a combination of landscape and conflict photography, using small seductive landscapes to reveal the details."
Savage photographed abandoned locations around North Kensington. In the 1970s, the area had very little in common with the chic neighbourhood it later became. He wrote:
These photos were taken on an old Pentax during January 1977: their purpose was to serve as an image bank for the second issue of the fanzine London's Outrage. The location was the square of North Kensington that lies between Holland Park Road, the Shepherd's Bush spur, Westbourne Park Road and the Harrow Road.
The bulk of the images come from the streets around Latimer Road and Lancaster Road: the district called Notting Dale. Here, as in other inner London areas like W9 (the Chippenham) and WC2 (Covent Garden), the tide of industry and humanity had temporarily receded. Slum housing stock had been demolished, but there was no reconstruction: squatting communities like Frestonia (based in Notting Dale's Freston Road) occupied the remaining buildings. Not yet the clichés of punk iconography, large tower blocks loomed like primitive monsters above the rubble and the corrugated iron. I was guided to this area after seeing the Clash and the Sex Pistols. I was very taken with the Clash, partly because their North Kensington manor was so close to mine. Songs like "How Can I Understand The Flies" and "London's Burning" reflected their environment with precision and passion. London was very poor in the late seventies. (via)
Rachel Whiteread's 1996 prints show tower blocks on three housing estates in east London at the moment of their demolition. The images were scanned from photographs and stages in each of these demolitions were documented in three photographs taken from the same view-point. A fourth photograph of each site from a different location records moments that preceded or followed the knocking down.
The Demolished photos record what Whiteread calls 'something that is going to be completely forgotten ... the detritus of our culture', creating a memorial to the past in the hope of generating something better for the future.
Tacita Dean's film Kodak explores the ruin of images and obsolescence of technology. The artist traveled to Chalon-sur-Saône (France) in 2006 to visit and film the final days of the production of the company's 16-mm film stock.
On the day of filming, the factory also ran a test through the system with brown paper, providing a rare opportunity to see the facilities fully illuminated, without the darkness needed to prevent exposure.
Please, don't let this post convince you that i don't like painting. Laura Oldfield Ford's look at brutalist estates and architecture's failed attempts to build an egalitarian society.
Few people would associate the words "English heritage" with car showrooms, repair garages, filling stations, traffic lights, inner ring roads, multi-storey car parks, and drive-through restaurants. Yet, the exhibition Carscapes: How the Motor Car Reshaped England draws our attention to the country's motoring patrimony and shows that the car's impact on the physical environment needn't be reduced to ruthless out pours of concrete and "wayside eyesores".
The first motor cars entered the country in the late 19th Century. New buildings, signage, rules and systems had to be invented for dusty roads that so far had only been crisscrossed by horse traffic. It is only recently that we have started to value the infrastructures that have facilitated their construction, sale and maintenance of cars. "It took the best part of 100 years for the railway infrastructure to be appreciated," argue Kathryn Morrison and John Minnis in the book Carscapes: The Motor Car, Architecture, and Landscape in England, "now it is the turn of the car."
Many of these buildings, road signs and infrastructures have disappeared, others are under threat of being demolished or are decaying beyond repairs but English Heritage has started to list motoring heritage sites in England. The exhibition at Wellington Arch shows archives images, contemporary photos and a series of motoring memorabilia. It also explores the impact that motor car have had on the planning of cities, towns and on the countryside.
Below are some of the most spectacular buildings and road systems i discovered in the exhibition:
Bibendum aka the Michelin Man!! Michelin Building on London's Fulham Road is now a restaurant but it was built to house the first permanent UK headquarters and tyre depot for the Michelin Tyre Company Ltd. It also function as advertisement for the company with its corner domes that resemble sets of tyres and the large stained-glass windows starring the cheerful "Bibendum."
The building opened for business on 20 January 1911.
When the Lex (now NCP) car park opened in Soho in 1928, its architects were catering for the rich men who could afford the luxury of a car. The Art Deco architecture thus also housed a cafe (for car-owners) and a separate canteen for chauffeurs.
The photo above shows one of the earliest filling stations to open in London. It was built by F.D. Huntington in 1922. Each pump was manned by a uniformed attendant.
This was one of the six filling stations built by the Automobile Association in 1919-20, the first to be opened in Great Britain, and originally selling only British-made benzole.
In 2012, English Heritage granted listed status on two 1960s petrol-station canopies - one on the A6 near Leicester (photo on top of the page but check out also this night view) and the other at Markham Moor, Nottingham.
When it opened in 1931, the Ford factory on the banks of the Thames at Dagenham was the largest car factory in Europe. The nearest building in this 1939 photograph is the power station. Behind it, fuel for the power station and furnaces is unloaded from ships via a double-decked jetty.
Coventry Inner Ring Road built between 1962 and 1974 is one of the most highly developed and tightly drawn inner ring roads of any city in England.
The Wellington Arch was built in 1828 but Victorian traffic jams meant that in 1883, the Arch was dismantled and moved some 20 metres to its current location. Between 1958 and 1960, to further ease congestion - this time from motorised transport - Hyde Park Corner was altered and the Arch separated from Constitution Hill by a new roadway.
Metallurgique was a Belgian company which opened the first car showroom on Regent Street in 1913
Carscapes: How the Motor Car Reshaped England is at the Wellington Arch until 6 July 2014.
Brutal and Beautiful: Saving the Twentieth Century was a very small but enlightening exhibition that celebrated post-war listed architecture in England. I went to see the show one day before it closed so, for once, i have a good excuse for the ridiculously late review. It took place at the Quadriga Gallery, on the second floor of Wellington Arch right in the middle of Hyde Park Corner. I don't think i had ever been to Hyde Park Corner before.
Brutal and Beautiful, thus. The images below speak for themselves and I won't need to comment much on the adjective 'beautiful', even if, for many people, their aesthetic qualities are somewhat debatable. But brutal, in this context, requires a few lines of explanation. It comes from the term New Brutalism coined by architects Alison and Peter Smithson in 1953 to define a style that used the béton brut (raw concrete) as much as it used light and innovative materials. The term probably contributed to the unpopularity of the style but in fact, what the Smithsons had in mind was not concrete aggressively poured all over the country but 'honesty of expression and of natural materials.' This is therefore not a show about brutalism even though the style has a strong presence in the gallery.
The exhibition presents brutal and beautiful cathedrals, libraries private houses, landscapes, war memorials, schools and industrial buildings. They were built between 1945 and the 1980s, in times of austerity and boldness. Each of them has been listed which means that they may not be demolished, extended, or altered without special permission from the local planning authority. Buildings and landscapes can be considered for designation once they are 30 years old. Younger structures can be protected when they are under severe threat or are considered outstanding, that's how the Lloyd's building became the youngest listed edifice. And ultimately, the exhibition invites us to rethink what makes a historic building:
Now the Royal Festival Hall and Coventry Cathedral are popularly admired but at the time post-war listings were fiercely debated and the future Tate Modern was rejected. Brutal & Beautiful looks at our love/hate relationship with England's recent architectural past and asks 'what is worth saving?'
It's fascinating to see how buildings that have been much maligned are now seen as iconic. Think of the Trellick Tower --and the smaller but equally arresting Balfron Tower-- by Ernö Goldfinger, an architect as famous for his arresting council blocks as he is for his unpleasant character so much so that, as you probably know already, Ian Fleming named one of James Bond's villains after him.
The Barbi! The upswept balconies, i read in the gallery, reduce wind resistance.
That said, all's not rosy and cheerful in the world of Brutalism. The Heygate Estate, in Elephant & Castle, provided the gloomy setting for violent scenes in the Luther tv series until its demolition started and John Madin's Birmingham Central Library will be teared down in 2014. But, hey, at least the the Preston Bus Station is doing ok.
And i'm going to leave you here with some brutal and not so brutal archi porn:
The photographs in the exhibition were by James O. Davies. They will appear in a forthcoming book, Space, Hope and Brutalism: English Architecture 1945-1975 which will be published next year by Yale University Press. I'll definitely get my hands on that one.
Related: Utopia London.
Brutal and Beautiful: Saving the Twentieth Century is thus closed. The next exhibition to open at the Quadriga Gallery, however, seems to be equally interesting: Almost Lost: London's Buildings Loved and Loathed. It will run from 4 December to 2 February 2014.
Last week i went to Manchester. I could never go too often to that city, especially when a number of exhibitions made another day in London less attractive. My first stop was for Ice Lab: New Architecture and Science in Antarctica at MOSI - Museum of Science & Industry.
Ice Lab presents some of the most innovative and progressive examples of contemporary architecture in Antarctica, drawing together projects that not only utilise cutting-edge technology and engineering, but have equally considered aesthetics, sustainability and human needs in their ground-breaking designs for research stations.
The show focuses on some spectacular research structures but it also presents some of the most extraordinary scientific and geological characteristics of Antarctica. That's the bit that got most of my attention. Here's some of random facts i learnt while visiting the show:
Because of its extremely cold and dry climate, Antarctica is the closest analogue to an extraterrestrial site on Earth. The region is thus used to test technologies that might be used for Mars exploration. The NDX-1 is a planetary suit prototype designed by a team of graduate students lead by Pablo de León and mobility expert Gary L. Harris.
Nacreous clouds form only when temperatures in the high atmosphere drop below -85 degree Celcius. They might be beautiful but they also trigger the depletion of the ozone layer.
The Antarctic Plateau, at 2800m high, is great place to observe planets and stars. The air is unpolluted and the atmosphere is stable and very dry. The geographic South Pole hosts a complex of telescopes that use wavelengths other than visible light to look for evidence of dark energy and for cosmic microwave signature left over from when the universe was formed.
Ice cores, obtained by drilling into an ice sheet or glacier, are formed of layers derived from snow that fell at a certain time, and each layer is like a time capsule. The bubbles of ancient air they contain reveal information about the past climate and environment, such as Palaeolithic weather patterns for example.
The McMurdo Dry Valleys of Antarctica are located in a polar desert blasted by ferocious winds. The harsh environment provides ideal circumstances for the creation of ventrifacts, geologic formations shaped by the forces of wind.
But let's get to the architectural part. The exhibition presents 5 case studies: Halley VI, UK (Hugh Brougton Architects) Princess Elizabeth, Belgium (International Polar Foundation), Bharati, India (bof architekten/IMS), Jang Bogo, South Korea (Space Group), and the Iceberg Living Station (MAP Architects), a speculative design for a subterranean station carved out of compacted snow.
Architects of the research stations face three main challenges: ensure inhabitants a pleasant working life sheltered from the harsh weather conditions, build a station that will be strong enough to withstand the Antarctic's onslaught and construct a structure that will have minimum environmental impact.
The featured projects are:
Fully operational since February 2013, the British Antarctic Survey's Halley VI was designed by Hugh Broughton Architects and engineered by AECOM (UK). Located on a floating ice shelf, the structure is the first fully relocatable polar research station, it is also self-sufficient, able to withstand freezing winter temperatures of minus 55ºC and has minimal impact on Antarctica's pristine environment.
Halley VI is built using modules supported by hydraulically driven legs with giant steel skis which allow the station to mechanically 'climb' up out of the snow every year. As the ice shelf the station is built on moves out towards the ocean, the modules can be towered by bulldozers further inland, to eventually be taken apart when the time comes.
Belgium's Princess Elisabeth is the first zero-emission station in Antarctica. Perched on a nunatak, the aerodynamic stainless steel structure integrates renewable wind and solar energy, water treatment facilities, passive building technologies and a smart grid for maximising energy efficiency. It has no interior heating system.
Bharati Research Station India's third Antarctic research station by bof Architekten / IMS is made from 134 prefabricated shipping containers.
Jang Bogo Korea, by Space Group (South Korea), will be one of the largest year-round bases on the continent when it opens in 2014, able to accommodate up to 60 personnel in the Summer.
Unsurprisingly, the speculative design for a research station was the one that seduced me the most.
Iceberg Living Station, the concept for a future research station by David Garcia / MAP Architects, would be made entirely from ice. The station would be holed out of a large iceberg, using caterpillar excavators that are traditionally used to clear snow. Icebergs have an average life span of about 12 to 15 years. The inhabitants would then leave the iceberg, taking with them all the energy and work infrastructure, "leaving only the architecture behind to melt away and be part of the oceans again," Garcia explained.
Finally, Torsten Lauschmann was showing two a new audio and light works, 'Whistler' and 'Ice Diamond', both commissioned for the exhibition.
You can (and you should) download the free eBook version of Ice Lab catalogue.
Ice Lab: New Architecture and Science in Antarctica was curated by Sandra Ross of the Arts Catalyst and initiated by the British Council. The exhibition remain open at MOSI - Museum of Science & Industry in Manchester until 6 January.
The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM, London's favourite radio art station, is aired this Wednesday afternoon at 4pm.
The guest of this episode is Usman Haque, one of the founders of Umbrellium. Usman is an architect who creates responsive environments, interactive installations, digital interface devices as well as many mass-participation initiatives. His skills include the design and engineering of both physical spaces and the software and systems that bring them to life. He is also the Founder of the sensor platform Pachube, now known as Xively.com.
Usman Haque happens to be one of the most thought-provoking people i know in London and today we're going to talk about the smart city vs the messy city.
Inspired by the environmental work of Diller & Scofidio, the performative and multi-sensory work of Bompas and Parr, and the nostalgia of 1960s event architecture, Shichong Li's project utilises sugar as a base element and 'centrifugal random fibre extrusion' fabrication (candyfloss) to build cloud structures.
Unsatisfied with the scale of the miniature clouds he thus produced, the artist and designer decided to build a candy floss cloud on an architectural scale, with sugar as an ideal base material for a floating semi- rigid architecture. Indeed, sugar can form structured space to be inhabited and engaged with in ways water cannot. These cloud formations create a medium between architecture and inhabitants which aims to stimulate communication and interaction.
Shichong Li's quest to build the ultimate and most efficient candy cloud-making machine is still ongoing. He has spent the past year making prototype after prototype. Often failing but always learning and fine-tuning his creations.
I discovered the Candy Cloud Machine at the graduation show of the Interactive Architecture Studio - Research Cluster 3 at the Bartlett School of Architecture UCL. The unit, headed by Ruairi Glynn and Ollie Palmer, focuses on kinetic and interactive design looking at the latest robotics, material and responsive systems while at the same time borrowing from a long history of performative machines and performing arts.
I already mentioned one of the works developed over this one-year postgraduate course: William Bondin's research into self autonomous creature-like structures which take their cue on slime mold and very slowly navigate public parks. The other stand-out work for me was Chong's poetical, elusive and absurd Candy Cloud Machine. I contacted him to ask if he had time to tell us more about his candy cloud adventures.
Hi Chong! What are the physical and technological challenges of creating clouds using sugar rather than water?
Whether they're conscious of it or not, I believe Architects dream of building clouds. Not in the narrow sense of a cloud, but rather architecture which is "cloud like", soft, , ephemeral, responsive, light etc. Water doesn't have to be the base component and so I explored sugar for its inherent properties.
Could you describe some of the prototypes you developed in your quest to make a candy cloud machine? Why do you think the experiments failed?
Sure! The first and second prototypes were built following a study of the mechanical principles to make a candy floss maker. The heating and rotating systems have to be tested properly and they will be the base of the next step studies. These experiments were successful in a way. But as the research moves along, the air control and generating system have became the biggest challenges.
The third and fourth prototypes, for example, are wind tunnel systems, they were designed following the study of air driving system. The third one is called Laminar air flow generator (LAFG). Laminar air is a type of flow where the motion of the particles of fluid occurs in orderly straight movement. Compressed air is blown into a perforated wind box. The wind box has the shape of a circular ring surrounding the candy floss maker, which blows the candy floss up smoothly. I was thinking of using laminar air which is stable enough to hold candy floss. However, the results of the LAFG experiment show that the airflow looses a large amount of energy in the box and at the edges of holes. The outward-streaming airflow is too weak to drive the candy floss upwards.
The second air control system tested was a multi-fan system. In order to solve the problem of insufficient air flow in the LAFG, this design comprised eight powerful axial fans to blow air into the chamber directly.
Despite the fact that the attempts of the Candy Cloud Machine air control system failed, these first experiences are worth studying. Firstly, the candyfloss itself is light, but the air power needed to drive it upwards cannot be low. Because the candyfloss structure doesn't have a surface which can hold airflow, the air can permeate the gaps between the candyfloss fibres. Secondly, small-scale installations are inappropriate to test aerodynamics. According to knowledge gained in the multi-fan system test, the circulating air has a strong influence on the vortex, as the air in the chamber is highly limited. The circulating air and the vortex interact with each other and destroy the air system. These experiences and lessons are an important basis for the development of the project.
The final project on view at the show right now is a cabin. Could you explain what the cabin is about? Why did you decide to show a wooden cabin rather than a modified candy floss machine?
The final fabrication machine- the Candy Cloud Cyclone Chamber, is too big to be exhibited so, inspired by the nostalgia of British Garden Shed Inventors, I've presented the project as an inhabitable portfolio. Visitors could search through the drawings, tastes and sugars, and examine the prototypes.
Now that your thesis is done and you graduated, are you planning to push the cloud machine further? To try and develop it until you reach the kind of candy cloud machine you were dreaming of?
Yes, the research of the cloud dream is still ongoing, and I am still trying to further develop the candy cloud machines. The fascination held by clouds offers designers a multitude of ways of thinking about space and designing in architectural practice. This story of clouds is a framework for future studies and design works. The role of designers and architects with an understanding of 'cloud theory' must be to use their knowledge to embark upon a 'higher' architectural approach.
Also from RC3: Morphs, the architectural creatures that behave like slime mould.