Posts tagged with "Books":
For the U.K.’s latest passport design, a page is dedicated to British-Indian artist, Anish Kapoor. This is nothing untoward; Kapoor is a distinguished artist both nationally and on the world stage. On the page are three of his works: Marsyas, Temenos, and the Orbit, the latter of which was designed with the help of equally esteemed British engineer, Cecil Balmond.
At 377 feet, the Orbit is Britain’s tallest sculpture. A press release for its 2014 re-opening proudly proclaims that the ArcelorMittal Orbit—to call it its official name after Indian steel giant Lakshmi Mittal—“originated in 2009 when [former] London Mayor Boris Johnson launched a competition to design a sculpture for the Olympic Park.”
The term sculpture is perhaps too kind, since the Orbit looks like Kapoor and Balmond both sneezed while trying to wrest control of the mouse with Rhino running on the computer. Today, despite adding a slide, it costs the taxpayer $13,100 a week to keep running. The omnipresent Orbit looms over the London 2012 Olympic site in the London borough of Newham and now the work—an inescapable reminder of Johnson’s eagerness to create an icon—will follow Britons around the globe.
Though a picture is sometimes worth a thousand words, thankfully there is better documentation of Johnson’s foibles in the built environment. Critic Douglas Murphy’s Nincompoopolis: The Follies of Boris Johnson, does this superbly and goes beyond, relating it to Johnson’s ironic ineptitude on more serious issues with real-world ramifications, such as the Heygate Estate evictions in South London. In this instance, Johnson remarked that it was “vital we push forward with work to unlock the economic potential” of the area as he approved the replacement masterplan, seemingly oblivious of the implications. The estates were home to more than 3,000 people.
The darker manifestation’s of Johnson’s mayoralty come later in the book, which is laid out in two parts: Johnson the architectural meddler comes first and Johnson the hapless, apathetic, and willfully ignorant politician, after. In this sense, Murphy’s depressingly long catalogue of Johnson’s errors posits the more obvious architectural blunders as a mask to his more inimical failings.
To make the grim reading digestible, Nincompoopolis is filled with personal touches from Murphy (all but two of the images used are the author's own) who found himself in London just as Johnson took the reins in 2008. His sophisticated anger is both fitting and relevant, delivered with a dry sense of humor, as he dismantles everything wrong with each project, from the process (or lack of it) to the final product. The reader is doused with lashings of context, followed by a predictable punchline: Johnson.
It’s not all doom and gloom, though. The Garden Bridge, with a corrupt tendering process in which Johnson played a central role, was scrapped by incumbent Mayor Sadiq Kahn. A shopping mall version of the Crystal Palace was another near-miss, and orders have been stopped on the New Routemaster London bus. These failed follies can hardly be classed as wins, however, with millions of dollars of public money having already been squandered on them.
Perhaps a bright spot can be found in the socially-minded work of Peter Barber Architects, which Murphy duly mentions. Johnson is also credited for issuing new housing standards in the shape of the London Housing Design Guide which, bemusingly for him given his track record, called for less “iconic” architecture and beckoned in the “New London Vernacular.” However, as Murphy points out, much of this genuinely good work rides on the legacy of former mayor Ken Livingstone, who worked with Richard Rogers during his time as mayor. “In a city that has been undergoing so much housing struggle, no amount of tasteful brick detailing can mask the problems,” Murphy remarks.
The bearer of an American passport which reads “Alexander Boris de Pfeffel Johnson,” London’s former Mayor will never have to suffer the full consequences of Brexit, in which he played a leading role. Nor will he have to look at the Orbit embarrassingly sprawled across a page of official national documentation.
Brexit, hopefully, was Johnson’s political swan-song. It made sense as well. The Routemaster and Crystal Palace fiascos were projects inspired by a misplaced public love of nostalgia, to which Johnson, seeing his chance as a so-called man of the people, rushed ham-handedly to cater to.
Inspiration also came from New York, where Johnson was born, but again, these ideas were executed in the wrong way. The High Line’s success spurred the Garden Bridge into almost becoming a reality, but ignored the 1964 New York World’s Fair. Johnson was determined to emulate the grandeur of antiquated world expos, but this somehow resulted in the Orbit and nearly led to a enormous glass mall, neither of which approached the legacy of 1964.
Nincompoopolis is a playful word, more endearing than insulting. However, Murphy does not shy away from showing that beneath Johnson’s boyish bravado and messy hair, depicted atop the Orbit on the book's cover, is a more clueless and sinister character.
Nincompoopolis: The Follies of Boris Johnson Repeater Books $10.00
Unlike a standard ebook, this digital version is designed specifically for an art book reading experience. While the catalogue is available in print format—and there still is nothing like thumbing through physical pages—the digitized version offers a user-friendly interface whose features make up for the lack of tactility.
Published through Musebooks, perhaps the best feature of this digital version is the ability to toggle between text view, image view, and page view while staying in the same section. The image view compiles all of the catalogue’s illustrations into one webpage and allows readers to zoom into the detailed drawings without losing much of the resolution, a feature that is critical for discerning readers.
The catalogue and exhibition highlight Wright’s expansive practice and feature architectural drawings, models, furniture, films, and television broadcasts. Focusing on objects from the Frank Lloyd Wright Foundation Archives, they include essays penned by architecture professors and critics like Mabel O. Wilson, Michael Desmond, and Ken Tadashi Oshima, accompanied by almost 300 illustrations.
A preview of the digital version of Frank Lloyd Wright: Unpacking the Archive is available through Musebooks, where it is also being sold for $25.99. (The hardcover, meanwhile, will set you back $44.15 on Amazon.)
Niche Tactics, a collection of essays edited by Caroline O’Donnell, approaches architecture as a living entity with a symbiotic relationship to its environment. She starts with contrasting bubble metaphors, the “ecological bubbles” of biologist Jakob von Uexkull, who studied creatures’ particular stimuli—blood for ticks, pollen for bees—with the Corbusian bubble that focuses on interior space shaped by program. External forces will burst the bubble rather than merely deform it if it isn’t designed for its ecology or able to adapt.
O’Donnell also bases her studies on Greg Lynn’s evolution of formalism unleashed from typological constraints. To this strategy, she adds the tactical niche, which references the components and resources of a habitat that influence survival. She takes us through a breadth of history, theory and cultural studies—from the Renaissance and the Picturesque, to Vitruvius and Palladio, to Colin Rowe and Peter Cook, and from sustainability and phenomenology to film and comedy—examining objects’ relations to their contexts and how this relates to architecture. Along the way she shows that basic principles of symmetry, proportion, and typology are not antithetical to an ecologically responsive architecture.
However, radical practices often get slapped with the “weird shape” or formalism label, so it’s encouraging to trace a trajectory from Rudolf Wittkower to Nikolaus Pevsner and Rowe, whose own studies of the analytic and the collage are found in O’Donnell’s research of context. Ideal Palladian villas are reintroduced to their country settings, and churches yield their historically typological forms to exaggerated responses to wind, solar, and urban orientation. Considering the urban, O’Donnell speculates what would have emerged had Le Corbusier’s clean sweep of the Plan Voisin grid considered cultural and civic landmarks as interferences. However, none of this is really all that new, foreign, or radical. The original Citicorp Center tower gave way to its site, the economics and air rights of St. Peter’s Lutheran Church, and O’Donnell shows how Manhattan’s gridiron deforms when confronting natural features, such as those of Morningside Park.
Moving into contemporary practice, O’Donnell reminds readers that the iterations initiated by Lynn grew from specific conditions, often dealing more with environment and evolution than more recent strategies such as application scripts and parametricism. A couple chapters addressing monsters and notions of ugliness are useful in describing how appearances that deviate from our expectations may actually indicate something more in tune with their environment or be on their way to a new “species” of architecture.
While O’Donnell laces her text with examples of analyzing and implementing contextual forces in projects, she saves the final chapter for examples of her own firm’s works. While some are no more than a paragraph, others elicit a more thorough explanation, such as her firm’s MoMA/PS1 Young Architects Program winning entry Party Wall, to show how one can design to respond to site, urban context, history, and program.
The book is a welcome mix of the multidisciplinary—theory expands beyond formal analysis or historical indexing. O’Donnell combines those aspects with examples of projects in their environments, incorporating ecological and contextual referents into a living, evolving design practice. Ultimately O’Donnell argues for an ecological responsiveness to inform firmitas, utilitas, venustas contemporary architectural design.
Niche Tactics: Generative Relationships between Architecture and Site Caroline O’Donnell Routledge $59.95