Quotulatiousness

October 11, 2023

Art Deco in 9 Minutes: Why Is It The Most Popular Architectural Style? 🗽

Filed under: Architecture, France, History, USA — Tags: , , , , , , — Nicholas @ 02:00

Curious Muse
Published 3 Sept 2021

What comes to your mind when you think of the 1920s? For most people, the 1920s conjures up images of jazz, flappers, Old Hollywood, the Great Gatsby, and the Chrysler Building in New York City. It was a time of prosperity, exorbitant spending, and entertainment that gave rise to one of the most popular decorative arts and architecture movements — known as Art Deco.

Characterized by exquisite craftsmanship, lavish decoration, and rich materials, the style has become synonymous with the Roaring Twenties. So, what was the Art Deco movement all about and what differentiates it from other major movements? Finally, despite its popularity today, what makes Art Deco so closely associated with the 1920s?

In this week’s video, we’ll dive into the history of the era and learn about Art Déco, the style that continues to inspire designers and architects around the world!
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September 26, 2023

Postwar Warsaw became beautiful, but postwar Coventry became a modernist eyesore

Ed West’s Wrong Side of History remembers how the devastation of Warsaw during World War 2 was replaced by as true a copy as the Poles could manage, while Coventry — a by-word for urban destruction in Britain — became a plaything in the hands of urban planners:

Stare Miasto w Warszawie po wojnie (Old Town in Warsaw after the war)
Polish Press Agency via Wikimedia Commons.

Fifteen months after its Jewish ghetto rose up in a last ditch attempt to avoid annihilation, the people of the city carried out one final act of defiance against Nazi occupation in August 1944.

The Soviets, having helped to start the war in 1939 with the fourth partition of Poland, deliberately halted their advance and refused to help the city in its torment. Without Russian cooperation, the western allies could do little more than an airlift of weapons and supplies, which was doomed to failure.

The Polish Army and resistance fought bravely – some 20,000 Germans were killed or wounded – but at huge cost. As many as 200,000 Poles, most civilians, were killed in the battle and over 80% of the city destroyed – worse destruction than Hiroshima or Nagasaki. And so the Nazis had carried out their plan to erase the Polish capital — yet this was something the Poles refused to accept, even after 1944

Today the Old Town is as beautiful as it ever was, and visitors from around the world come to walk its streets – witnesses to perhaps the most remarkable ever story of urban rebirth.

With the city a pile of rubble and corpses, the post-war communist authorities considered moving the capital elsewhere, and some suggested that the remains of Warsaw be left as a memorial to war, but the civic leaders insisted otherwise – the city would rise again

Plac Zamkowy, Warszawa (Castle Square in Warsaw)
Photo by Makxym Kozlenko via Wikimedia Commons.

Warsaw was fought over, bombed, shelled, invaded and twice was the epicentre of brutal urban guerilla warfare, leaving the city in literal ruins. Coventry, on the other hand, wasn’t bombed by the Luftwaffe until 1940 — but the damage had already began at the hands of the urban planners:

Broadgate in Coventry city centre following the Coventry Blitz of 14/15 November 1940. The burnt out shell of the Owen Owen department store (which had only opened in 1937) overlooks a scene of devastation.
War Office photo via Wikimedia Commons.

The attack was devastating, to the local people and the national psyche, and local historian W.G. Hoskins wrote that “For English people, at least, the word Coventry has had a special sound ever since that night”. Yet Coventry also became a byword for how to not to rebuild a city – indeed the city authorities even saw the Blitz as an opportunity to remake the city in their own image.

Coventry forms a chapter in Gavin Stamp’s Britain’s Lost Cities, a remarkable – if depressing – coffee table book illustrating what was done to our urban centres. Stamp wrote:

    British propaganda was quick to exploit this catastrophe to emphasise German ruthlessness and barbarism and to make Coventry into a symbol of British resilience. Photographs of the ruins of the ancient Cathedral were published around the world, and it was insisted that it would rise again, just as the city itself would be replanned and rebuilt, better than before.

    But the story of the destruction of Coventry is not so simple or straightforward. … severe as the damage was, a large number of ancient buildings survived the war – only to be destroyed in the cause of replanning the city. But what is most shocking is that the finest streets of old Coventry, filled with picturesque half-timbered houses, had been swept away before the outbreak of war – destroyed not by the Luftwaffe but by the City Engineer. Even without the second world war, old Coventry would probably have been planned out of existence anyway.

    In one respect, Coventry had been ready for the attacks … the vision of “Coventry of Tomorrow” was exhibited in May 1940 – before the bombing started. [City engineer] Gibson later recalled that “we used to watch from the roof to see which buildings were blazing and then dash downstairs to check how much easier it would be to put our plans into action”.

    The Society for the Protection of Ancient Buildings had estimated that 120 timber houses had survived the war … two thirds of these would disappear over the next few years as the city engineer pressed forward with his plans … A few buildings were retained, but removed from their original sites and moved to Spon Street as a sanitised and inauthentic historic quarter.

    Today, whatever integrity the post-war building ever had has been undermined by subsequent undistinguished alterations and replacements. Coventry has been more transformed in the 20th century than any other city in Britain, both in terms of its buildings and street pattern. The three medieval spires may still stand, but otherwise the appearance of England’s Nuremberg can only be appreciated in old photographs.

In fact, the destruction had begun before the war. In order to make the city easier for drivers, the west side had been knocked down in the 1930s, the area around Chapel St and Fleet St replaced by Corporation St in 1929-1931. After the war it would become a shopping centre.

Old buildings by Holy Trinity Church were destroyed in 1936-7, and that same year Butcher Row and the Bull Ring were similarly pulled down, the Lord Mayor calling the former “a blot in the city”.

Indeed, the city architect Donald Gibson hailed the Blitz as “a blessing in disguise. The Jerries cleared out the core of the city, a chaotic mess, and now we can start anew.” He said later that “We used to watch from the roof to see which buildings were blazing and then dash downstairs to check how much easier it would be to put our plans into action”.

Gibson’s plan became city council policy in February 1941, with a new civic centre and a shopping precinct inside a ring road. The City Engineer Ernest Ford wanted to preserve some old buildings, including the timber Ford’s Hospital, which had survived the Blitz. Gibson said it was an “unnecessary problem” and in the way of a new straight road.

September 24, 2023

Architect Breaks Down Why All American Diners Look Like That | Architectural Digest

Filed under: Architecture, History, Railways, Space, USA — Tags: , , , , — Nicholas @ 02:00

Architectural Digest
Published 1 Jun 2023

Today Michael Wyetzner of Michielli + Wyetzner Architects returns to Architectural Digest to explore the design evolution of American diners. A cornerstone of American dining culture, their distinctive style has been emulated around the world making them a popular salute to the USA. Michael provides an expert look into the history behind their design evolution from the 1920s through to the 1960s and explains why all diners came to look like that.
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September 7, 2023

History Summarized: Iceland’s Hallgrimskirkja

Overly Sarcastic Productions
Published 26 May 2023

The name is more visually complicated than the church itself.
I tried my best to pronounce all the Icelandic correctly but that LL sound is TRICKY.

SOURCES & Further Reading:
Great Courses lectures “Iceland’s Independence” and “The Capital and Beyond in Southwest Iceland” from The Great Tours Iceland by Jennifer Verdolin, “Iceland’s Hallgrimskirkja” from World’s Greatest Churches by William R. Cook. Plus, two visits to Iceland and a lot of time spent staring at the thing.
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August 31, 2023

Why New York Destroyed 3 Iconic Landmarks | Architectural Digest

Filed under: Architecture, History, Railways, Sports, USA — Tags: , , — Nicholas @ 02:00

Architectural Digest
Published 6 Apr 2023

Michael Wyetzner of Michielli + Wyetzner Architects returns to AD, this time to look at the history and creation of three New York City landmarks that have since been demolished — but are far from forgotten. From the once (and future?) majesty of Penn Station to the New York Herald building and the original 19th-century Madison Square Garden, Michael gives expert insight into these three historic architectural landmarks, why they were laid to ruin, and what came to replace them.
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May 15, 2023

Every Detail of Grand Central Terminal Explained | Architectural Digest

Filed under: Architecture, History, Railways, USA — Tags: , , , — Nicholas @ 02:00

Architectural Digest
Published 6 Jun 2018

Historian and author Anthony W. Robins and journalist Sam Roberts of the New York Times guide Architectural Digest through every detail of Grand Central Terminal. Our narrators walk us through the legendary structure from the Jacqueline Kennedy Onassis Foyer through Vanderbilt Hall to the main concourse (and the famous four-faced clock). From there, we learn more about the underground walkways, whispering gallery, Oyster Bar restaurant, Campbell Apartment, Pershing Square, and more.
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May 6, 2023

History Summarized: Chicago’s Tribune Tower

Overly Sarcastic Productions
Published 20 Jan 2023

It’s not a Dome, but it’s still pretty darn good.
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April 16, 2023

The short-term mindset in architecture

Filed under: Architecture, Britain, History, Technology — Tags: — Nicholas @ 06:00

Our house was built in the first half of the 19th century, although we’re not sure exactly when. We know it was here in the early 1840s but it could be 20 years older than that … in the first half of the 1800s, you didn’t need to get a building permit in Upper Canada before you started, and there was minimal government record-keeping at the time. Our house isn’t anything special architecturally, but it was built extremely solidly. It was intended to stand the test of time. This is not at all true for most of what we build today:

“Princes Street, New Town, Edinburgh, Scotland” by Billy Wilson Photography is licensed under CC BY-NC 2.0 .

I have had some work done on my house recently. For context, it’s an Edwardian terrace with a rear extension built sometime in the 1980s. Oddly fascinating for me was the sheer difference in build quality between the original section of the property and the newer part at the back. The older part of the house is sturdy, solid and lauded by the workmen as a “proper building”. The newer section has been a huge source of ridicule and contempt: shoddy timber placement, wobbly floors, dangerous electrical wiring, crumbling cement and poor brickwork plague it.

The tradesmen’s comments had me thinking a lot about the general quality of our infrastructure, both national and local, and how we sometimes take for granted the fact that a huge portion of what we use every day is so old. Not only that, but a lot of it is almost universally considered very beautiful and important to our shared cultural heritage.

Take a stroll through any city in Great Britain, and you are more than likely to at some point come across the “old town”. Despite the Luftwaffe’s (and post war town planner’s) best efforts, a lot of pre-war buildings still inhabit the centres of our towns and cities. These prove to be fine examples of the world we used to live in. Even in the poorest of cities, my own town of Hull for example, there exists a great plethora of dramatic and beautiful buildings which were constructed, almost exclusively, by the late Georgians, Victorians and Edwardians. Take a trip to London, Edinburgh, central Durham and a number of other places, and you will see that even the lampposts are adorned gorgeously, with striking and intricate ironwork.

Why is this? Why did they bother to do such a good job? Why do we still heavily rely on their work for our own sense of cultural identity and our basic infrastructural needs? Why can’t our own contemporary efforts compete, despite great advances in the field of civil engineering and construction materials? I think the answer boils down to one thing: civic pride.

The Victorians were building for eternity; we build for temporary needs in a utilitarian fashion. They knew their “mission”, and they saw it an absolute necessity to make everything they did permanent; we do not. They designed buildings to be functional and beautiful; we seek to make buildings which will be functional for 50 years before they are “recycled”.

Speak to a modern student of architecture about their course, and you will find that very few opportunities exist for those who want to pursue a path for traditional design techniques. Their learning aim is to make things which can be used temporarily, then pulled down for something else. This is an attitude which would be totally alien to the Victorians who designed and built the lecture halls these students now learn in.

March 6, 2023

The Rise and Fall of Fast Food Architecture

Filed under: Architecture, Business, Food, History, USA — Tags: , , — Nicholas @ 02:00

Stewart Hicks
Published 3 Nov 2022

What happened to McDonald’s? Their restaurants used to be so iconic. It was impossible to mistake one, for say, a Wendy’s. Distinguished architecture used to be an important part of a brand’s identity. But today, fast food restaurant’s all look the same. Bland grey boxes. The great convergence toward this standard has been called “Chipotle-ification”. In this video, we trace the changing restaurant designs of McDonald’s, from the iconic golden arch era to the soulless boxes of today. We break down the architecture and the forces at play in the great homogenization of fast food architecture.
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January 13, 2023

The greatest conspiracy in ancient art

Filed under: Architecture, Europe, Greece, History, Science — Tags: , , , — Nicholas @ 02:00

BBC Reel
Published 7 Sep 2022

Do we have a bias against colour in classical art?

Matt Wilson explores prejudices that have built up over centuries – leading to what has been labelled ‘chromophobia’, the subject of an exhibition at New York’s Metropolitan Museum of Art.

Wilson finds out why we don’t value colour, questioning a centuries-old misunderstanding. As Chroma’s curator Sarah Lepinski tells him: “It’s important that audiences come to understand the way they see ancient Greek and Roman sculpture isn’t the way it was first created.”
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January 6, 2023

This is the most interesting roof in London

Filed under: Architecture, Britain, History, Technology — Tags: , — Nicholas @ 02:00

Tom Scott
Published 5 Sep 2022

The @Royal Albert Hall is 150 years old; the roof is 600 tonnes of glass and steel. And it turns out that there’s a terrifying technicians’ trampoline, acoustic-dampening mushrooms, and a complete lack of connections.
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December 13, 2022

QotD: Postwar Germany

Filed under: Architecture, Germany, History, Quotations, WW2 — Tags: , — Nicholas @ 01:00

Nowhere in the world (except, perhaps, in Israel or Russia) does history weigh as heavily, as palpably, upon ordinary people as in Germany. Sixty years after the end of the Second World War, the disaster of Nazism is still unmistakably and inescapably inscribed upon almost every town and cityscape, in whichever direction you look. The urban environment of Germany, whose towns and cities were once among the most beautiful in the world, second only to Italy’s, is now a wasteland of functional yet discordant modern architecture, soulless and incapable of inspiring anything but a vague existential unease, with a sense of impermanence and unreality that mere prosperity can do nothing to dispel. Well-stocked shops do not supply meaning or purpose. Beauty, at least in its man-made form, has left the land for good; and such remnants of past glories as remain serve only as a constant, nagging reminder of what has been lost, destroyed, utterly and irretrievably smashed up.

Theodore Dalrymple, “The Specters Haunting Dresden”, City Journal, 2005-01.

December 5, 2022

QotD: Open concept house designs

Filed under: Architecture, Europe, History, Quotations — Tags: , , , — Nicholas @ 01:00

The shift from open concepts demanded by necessity to widespread construction of separate rooms to open concepts demanded by style is relatively recent. Before the 17th century, especially for the poor, “rooms did not have specialized functions”, explains architect Witold Rybczynski in Home: A Short History of an Idea. “Houses were full of people, much more so than today, and privacy was unknown.”

A single room could serve as a study in the morning, a dining room at noon, a living room in the evening, and a bedroom at night. Beds were couches, and couches were beds. Your house was your workspace, and your minimal furniture typically had no fixed arrangement, as it was constantly moved about to accommodate different uses of the only room available. (The French and Italian words for “furniture” still hint at this history: You can see the similarity to “mobile” in meubles and mobilia.)

These open concepts of old were not only motivated by different conceptions of privacy and the expense of building additional walls. They were also required for the lower classes by premodern heating technologies. A single open hearth, or, later, fireplace or stove, could warm one large room but could not do much for other, closed-off spaces. A lord or king could build a heating element into every room, but for the average family, winter warmth required most of life to happen in a single space.

As technology advanced, ideas about privacy changed, and standards of living improved over the last 500 years, ordinary people were increasingly able to move away from an open concept home, and they eagerly did so. “Rooms began to proliferate as wealthy householders discovered the satisfactions of having space to themselves,” notes Bill Bryson in At Home: A Short History of Private Life. Though the transition was slow — toilets long had “multiple seats, for ease of conversation” — rooms were increasingly devoted to particular uses, and those uses were separated from one another as much as resources permitted.

Bonnie Kristian, “Open concept homes are for peasants”, The Week, 2019-05-12.

November 27, 2022

“The uncomfortable truth is that autocrats and architects share complimentary motivations”

Filed under: Architecture, Middle East — Tags: , , , — Nicholas @ 05:00

In UnHerd, Wessie du Toit sets the Saudi Arabian “Neom” development in its true and unsavoury proper context:

There may be no philosopher kings, but there are sci-fi princes. The dreams of Mohammed bin Salman, crown prince of Saudi Arabia and chairman of the Neom board, make the techno-futurism of Silicon Valley look down to earth. Bin Salman is especially fond of the cyber-punk genre of science fiction, which involves gritty hi-tech dystopias. He has enlisted a number of prominent Hollywood visual specialists for the Neom project, including Olivier Pron of Marvel’s Guardians of the Galaxy franchise. A team of consultants was asked to develop science-fiction aesthetics for a tourist resort, resulting in “37 options, arranged alphabetically from ‘Alien Invasion’ to ‘Utopia'”. One proposal for a luxury seaside destination, which featured a glowing beach of crushed marble, was deemed insufficiently imaginative.

Such spectacular indulgence must be causing envy among the high-flying architects and creative consultants not yet invited to join the project — if there are any left. But it also makes the moral dimension difficult to ignore: how should we judge those jumping on board bin Salman’s gravy train? Saudi Arabia — in case anyone has forgotten in the years since the journalist Jamal Khashoggi was murdered at its consulate in Istanbul — is a brutal authoritarian state.

In recent weeks, this has prompted some soul-searching in the architecture community, with several stinging rebukes aimed at Neom. Writing in Dezeen, the urbanist Adam Greenfield asks firms such as Morphosis, the California-based architects designing The Line, to consider “whether the satisfaction of working on this project, and the compensation that attends the work, will ever compensate you for your participation in an ecological and moral atrocity”. Ouch. Greenfield’s intervention came a week after Rowan Moore asked in The Observer: “When will whatever gain that might arise from the creation of extraordinary buildings cease to outweigh the atrocities that go with them?”

[…]

The uncomfortable truth is that autocrats and architects share complimentary motivations. The former use architecture to glorify their regimes, both domestically and internationally, whereas the latter are attracted to the creative freedom that only unconstrained state power can provide. In democratic societies, there is always tension between the grand visions of architects and the numerous interest groups that have a say in the final result. Why compromise with planning restrictions and irate neighbours when there is a dictator who, as Greenfield puts it, “offers you a fat purse for sharing the contents of your beautiful mind with the world?”

This is not just speculation. As Koolhaas himself stated: “What attracts me about China is that there is still a state. There is something that can take initiative on a scale and of a nature that almost nobody that we know of today could even afford or contemplate.”

But really this relationship between architect and state is a triangle, with financial interests making up the third pole. Despite the oft-repeated line that business loves the stability offered by the rule of law, when it comes to building things, the money-men are as fond of the autocrat’s empty canvas as the architects are. When he first pitched the Neom project to investors in 2017, bin Salman told them: “Imagine if you are the governor of New York without having any public demands. How much would you be able to create for the companies and the private sector?”

This points us to the deeper significance of the Gulf States and China as centres of high-profile architecture. These were crucial regions for post-Nineties global capitalism: the good illiberal states. Celebrity architects brought to these places the same spectacular style of building that was appearing in Europe and North America; each landmark “iconic” and distinct but, in their shared scale and audacity, also placeless and generic. Such buildings essentially provided a seal of legitimacy for the economic and financial networks of globalisation. Can this regime’s values really be so different to ours, an investor might say, when they have a museum by Jean Nouvel, or an arts centre by Norman Foster? British architects build football stadiums and skyscrapers in Qatar and Saudi Arabia, while those governments own football stadiums and skyscrapers in Britain, such as The Shard and Newcastle’s St James’s Park.

November 7, 2022

QotD: The rise of architectural modernism

Filed under: Architecture, Books, Europe, History, Quotations — Tags: , , , — Nicholas @ 01:00

Making Dystopia is not just a cri de coeur, however. It is a detailed account of the origins, rise, effect, and hegemony of architectural modernism and its successors, and of how architecture became (to a large extent) a hermetic cult that seals itself off from the criticism of hoi polloi — among whom is included Prince Charles — and established its dominance by a mixture of ­bureaucratic intrigue, intellectual terrorism, and appeal to raw political and financial interest. If success is measured by power and hold over a profession rather than by intrinsic worth, then the modernist movement in architecture has been an almost unparalleled success. Only relatively recently has resistance begun to form, and often all too late:

    Many ingenious lovely things are gone
    That seemed sheer miracle to the multitude.

Professor Curl’s book is ­particularly strong on the historiographical lies peddled by the apologists for modernism, and on the intellectual weakness of the arguments for the necessity of modernism. For example, architectural historians and theoreticians such as Sigfried Giedion, Arthur Korn, and Nikolaus Pevsner claimed to see in modernism the logical continuation of the European architectural tradition, and Pevsner even recruited such figures as William Morris and C.F.A. Voysey as progenitors of the movement. Pevsner was so enamored of Gropius and the Modernists that he wanted to claim a noble descent for them, as humble but ambitious people were once inclined to find a distant aristocratic forebear. Yet Voysey could hardly have been more hostile to the movement that co-opted him. The Modern Movement, he said,

    was pitifully full of such faults as proportions that were vulgarly aggressive, mountebank ­eccentricities in detail, and windows built lying down on their sides. … This was false originality, the true originality having been for all time the spiritual something given to the development of traditional forms by the individual artist.

Pevsner (to whom, ­incidentally, Curl pays tribute for his past generosity to young scholars, including himself), with all the academic and moral prestige and authority that attached to his name, was able to incorporate Voysey — unable to speak for himself or protest after his death — into the direct ancestry of modernism, even though the merest glance at his work, or at that of William Morris, should have been sufficient to warn anyone that Pevsner’s historiography made a bed of Procrustes seem positively made to measure.

Theodore Dalrymple, “Crimes in Concrete”, First Things, 2019-06.

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