The ideas of the modernists were generally expressed in the imperative mood and were frequently of a pseudo-mystical nature. Professor Curl’s description of some of the practices prevalent in the early Bauhaus make for hilarity; cranks are always a source of fun. In the early days, the modernists of the Bauhaus tended to a form of health mysticism involving vegetarianism, garlic paste, and regular enemas. Far more important, however, was their early and inherent attraction to totalitarianism. As the author points out, Gropius and Miës van der Rohe had no objection to Nazism other than that the Nazis failed to commission work from them. Gropius was an opportunistic anti-Semitic snob who espoused communism until it was no longer convenient for his career. Miës sucked up to the Nazis as much as he was able. The fact that both of them emigrated from Germany has done much to obscure their accommodation with the Nazis and even allowed the modernists to pose as anti-Nazi — though the most important proponent of modernism in America, Philip Johnson, had for some years been a rank Nazi in more than merely nominal terms. Moreover, as Professor Curl points out, the Nazi aesthetic, like the communist, had much in common with modernism.
Theodore Dalrymple, “Crimes in Concrete”, First Things, 2019-06.
June 15, 2019
QotD: The early Bauhaus
May 15, 2019
Modern architecture as a generations-long art crime spree
Theodore Dalrymple is clearly quite a fan of Making Dystopia: The Strange Rise and Survival of Architectural Barbarism by James Stevens Curl, as this is at least the third review of the book I’ve seen by him (and you can probably tell I agree with much of his viewpoint that I’m blogging it yet again…)
In a recent debate in Prospect magazine on the question of whether modern architecture has ruined British towns and cities, Professor James Stevens Curl, one of Britain’s most distinguished architectural historians, wrote as his opening salvo:
Visitors to these islands who have eyes to see will observe that there is hardly a town or city that has not had its streets — and skyline — wrecked by insensitive, crude, post-1945 additions which ignore established geometries, urban grain, scale, materials, and emphases.
This is so self-evidently true that I find it hard to understand how anyone could deny it, but modern architects and hangers-on such as architectural journalists do deny it, like war criminals who, for obvious reasons, continue to deny their crimes in the face of overwhelming evidence.
This is true not only of Britain but of many, perhaps most, other countries that have or had any towns or cities to ruin. Anyone who rides into the center of Paris from Charles de Gaulle Airport, for example, will be appalled at the modernist visual hell that scours his eyes as he goes.
Nor is this visual hell the consequence of the need to build cheaply. Where money is no object, contemporary architects, like the sleep of reason in Goya’s etching, bring forth monsters. The Tour Montparnasse (said to be the most hated building in Paris), the Centre Pompidou, the Opéra Bastille, the Musée du quai Branly, the new Philharmonie, do not owe their preternatural ugliness to lack of funds, but rather to the incapacity, one might say the ferocious unwillingness, of architects to build anything beautiful, and to their determination to leave their mark on the city as a dog leaves its mark on a tree.
Professor Curl’s magnum opus is both scholarly and polemical. He has been observing the onward march of modernism and its effects for sixty years and is justifiably outraged by it. British architects have managed to reverse the terms of the anarchist Bakunin’s dictum that the urge to destroy is also a creative urge: Their urge to create is also a destructive urge. I could give many concrete examples (no pun intended).
Philharmonie at the Parc de la Villette, Paris.
Photo by Zairon via Wikimedia Commons.
Curl knows that he is arguing not against an aesthetic, but against an ironclad ideology. The architectural Leninists have been determined so to indoctrinate the public that they hope and expect a generation will grow up knowing nothing but modernism, and therefore will be unable to judge it. (All judgment is comparative, as Doctor Johnson said.) In Paris recently, I saw an advertisement on the Métro (a few days before the fire in Notre-Dame) to the effect that Paris would not be Paris without the Centre Pompidou — which, of course, has a good claim to be the ugliest building in the world. In the face of such an advertisement promoted by the cultural elite, what ordinary person would dare demur?
Centre Georges-Pompidou (no, this isn’t an under construction image … it’s from 2017 and the construction was technically complete in 1977)
Gerd Eichmann photo via Wikimedia Commons.
Could anyone imagine a worldwide outpouring of genuine and heartfelt grief, such as that which greeted the burning of Notre-Dame de Paris, if any building of the last seventy years burnt down? Indeed, the destruction of many would be a cause almost for rejoicing. Modernist buildings will never age as Notre-Dame aged; they will merely deteriorate, and usually do deteriorate even before completion.
April 21, 2019
QotD: High Modern city design as a tool to control the populace
Scott notes that although citizens generally didn’t have a problem with earlier cities, governments did:
Historically, the relative illegibility to outsiders of some urban neighborhoods has provided a vital margin of political safety from control by outside elites. A simple way of determining whether this margin exists is to ask if an outsider would have needed a local guide in order to find her way successfully. If the answer is yes, then the community or terrain in question enjoys at least a small measure of insulation from outside intrusion. Coupled with patterns of local solidarity, this insulation has proven politically valuable in such disparate contexts as eighteenth-and early nineteenth-century urban riots over bread prices in Europe, the Front de Liberation Nationale’s tenacious resistance to the French in the Casbah of Algiers, and the politics of the bazaar that helped to bring down the Shah of Iran. Illegibility, then, has been and remains a reliable resource for political autonomy
This was a particular problem in Paris, which was famous for a series of urban insurrections in the 19th century (think Les Miserables, but about once every ten years or so). Although these generally failed, they were hard to suppress because locals knew the “terrain” and the streets were narrow enough to barricade. Slums full of poor people gathered together formed tight communities where revolutionary ideas could easily spread. The late 19th-century redesign of Paris had the explicit design of destroying these areas and splitting up poor people somewhere far away from the city center where they couldn’t do any harm.
Scott ties this into another High Modernist creation: the collective farms of the Soviet Union. This was a terrible idea and responsible for the famines that killed millions (tens of millions?) during Stalin’s administration. The government went ahead with them because the non-collectivized farmers were too powerful and independent a political bloc. They lived in tight-knit little villages that did their own thing, the Party officials who went to these villages to keep order often ended up “going native”, and the Soviets had no way of knowing how much food the farmers were producing and whether they were giving enough of it to the Motherland.
The collectivized farms couldn’t grow much, but people were thrown together in artificial towns designed to make it impossible to build any kind of community: there was nowhere to be except in bed asleep, working in the fields, or at the public school receiving your daily dose of state propaganda. The towns were identical concrete buildings on a grid, which left the locals maximally disoriented (because there are no learnable visual cues) and the officials maximally oriented (because even a foreigner could go to the intersection of Street D and Street 7). All fields were perfectly rectangular and produced Standardized Food Product, so it was (theoretically) easy to calculate how much they should be producing and whether people were meeting that target. And everyone was in the same place, so if there were some sort of problem it was much easier to bring in the army or secret police than if they were split up among a million tiny villages in the middle of nowhere.
Confronting a tumultuous, footloose, and “headless” rural society which was hard to control and which had few political assets, the Bolsheviks, like the scientific foresters, set about redesigning their environment with a few simple goals in mind. They created, in place of what they had inherited, a new landscape of large, hierarchical, state-managed farms whose cropping patterns and procurement quotas were centrally mandated and whose population was, by law, immobile. The system thus devised served for nearly sixty years as a mechanism for procurement and control at a massive cost in stagnation, waste, demoralization, and ecological failure.
Scott Alexander, “Book Review: Seeing Like a State”, Slate Star Codex, 2017-03-16.
March 13, 2019
QotD: Le Corbusier
Le Corbusier was challenged on his obsession with keeping his plan in the face of different local conditions, pre-existing structures, residents who might want a say in the matter, et cetera. Wasn’t it kind of dictatorial? He replied that:
The despot is not a man. It is the Plan. The correct, realistic, exact plan, the one that will provide your solution once the problem has been posited clearly, in its entirety, in its indispensable harmony. This plan has been drawn up well away from the frenzy in the mayor’s office or the town hall, from the cries of the electorate or the laments of society’s victims. It has been drawn up by serene and lucid minds. It has taken account of nothing but human truths. It has ignored all current regulations, all existing usages, and channels. It has not considered whether or not it could be carried out with the constitution now in force. It is a biological creation destined for human beings and capable of realization by modern techniques.
What was so great about this “biological creation” of “serene and lucid minds”? It … might have kind of maybe been evenly-spaced rectangular grids:
People will say: “That’s easily said! But all your intersections are right angles. What about the infinite variations that constitute the reality of our cities?” But that’s precisely the point: I eliminate all these things. Otherwise we shall never get anywhere.
I can already hear the storms of protest and the sarcastic gibes: “Imbecile, madman, idiot, braggart, lunatic, etc.” Thank you very much, but it makes no difference: my starting point is still the same: I insist on right-angled intersections. The intersections shown here are all perfect.
Scott uses Le Corbusier as the epitome of five High Modernist principles.
First, there can be no compromise with the existing infrastructure. It was designed by superstitious people who didn’t have architecture degrees, or at the very least got their architecture degrees in the past and so were insufficiently Modern. The more completely it is bulldozed to make way for the Glorious Future, the better.
Second, human needs can be abstracted and calculated. A human needs X amount of food. A human needs X amount of water. A human needs X amount of light, and prefers to travel at X speed, and wants to live within X miles of the workplace. These needs are easily calculable by experiment, and a good city is the one built to satisfy these needs and ignore any competing frivolities.
Third, the solution is the solution. It is universal. The rational design for Moscow is the same as the rational design for Paris is the same as the rational design for Chandigarh, India. As a corollary, all of these cities ought to look exactly the same. It is maybe permissible to adjust for obstacles like mountains or lakes. But only if you are on too short a budget to follow the rationally correct solution of leveling the mountain and draining the lake to make your city truly optimal.
Fourth, all of the relevant rules should be explicitly determined by technocrats, then followed to the letter by their subordinates. Following these rules is better than trying to use your intuition, in the same way that using the laws of physics to calculate the heat from burning something is better than just trying to guess, or following an evidence-based clinical algorithm is better than just prescribing whatever you feel like.
Fifth, there is nothing whatsoever to be gained or learned from the people involved (e.g., the city’s future citizens). You are a rational modern scientist with an architecture degree who has already calculated out the precise value for all relevant urban parameters. They are yokels who probably cannot even spell the word architecture, let alone usefully contribute to it. They probably make all of their decisions based on superstition or tradition or something, and their input should be ignored For Their Own Good.
And lest I be unfair to Le Corbusier, a lot of his scientific rational principles made a lot of sense. Have wide roads so that there’s enough room for traffic and all the buildings get a lot of light. Use rectangular grids to make cities easier to navigate. Avoid frivolous decoration so that everything is efficient and affordable to all. Use concrete because it’s the cheapest and strongest material. Keep pedestrians off the streets as much as possible so that they don’t get hit by cars. Use big apartment towers to save space, then use the open space for pretty parks and public squares. Avoid anything that looks like a local touch, because nationalism leads to war and we are all part of the same global community of humanity. It sounded pretty good, and for a few decades the entire urban planning community was convinced.
Scott Alexander, “Book Review: Seeing Like a State”, Slate Star Codex, 2017-03-16.
March 3, 2019
Yet another “adventure” in modern architecture
Or maybe the photographer is that Russian guy who did the greatest blog post of all time, just dragging Ottawa over thirty miles of bad road. He’s come back for a sequel
— Colby Cosh (@colbycosh) March 2, 2019
Thread reader can’t piece together unrelated-by-Twitter-standards tweets, so here’s the rest of that thread in one go:
February 24, 2019
Another review of Curl’s Making Dystopia
Having read a few reviews of James Stevens Curl’s recent Making Dystopia: The Strange Rise and Survival of Architectural Barbarism, I’m likely to add it to my booklist (when I have a budget for new books again, that is). Here, Michael Mehaffy shares his comments on the book:
Cumbernauld Shopping Centre, voted as Britain’s most hated building in a Channel 4 poll.
Photo by Ed Webster via Wikimedia Commons.
For most reform-minded urbanists today, the complicity of architectural Modernism in the urban fiascoes of the last century is not in dispute. A representative (and seminal) criticism was Jane Jacobs’ withering 1961 attack, in The Death and Life of Great American Cities, in which she described Le Corbusier’s “wonderful mechanical toy” that “said everything in a flash, like a good advertisement” — but as to how a city actually works, it told “nothing but lies.” Jacobs’s work was of course a major inspiration in forming the Congress for the New Urbanism, along with the work of other reformists like Leon Krier, Christopher Alexander and Vincent Scully.
In fact, the 1996 Charter of the New Urbanism almost precisely inverts Le Corbusier’s 1933 Athens Charter: in place of the Modernists’ functional segregation, we would have mixed use; in place of their dominance of fast-moving vehicles (especially cars), we would have walkability and multi-modal streets; in place of wholesale demolition of historic districts and prohibition of historic styles, we would have preservation and renewal, and buildings that “grow from local climate, topography, history, and building practice.”
Yet in the last few decades, architectural Modernism has enjoyed a resurgence among some New Urbanists, as it has in the wider profession of architecture. For them, it’s reasonable to separate the urban mistakes of Modernism from its alleged architectural genius, which, as they see it, continues to offer inspiring building design ideas that can take their place happily within great new cities.
Of course, many critics would not agree — including many of the profession’s most prominent insiders. For them, the building-scale and urban-scale failures of Modernism have been of a piece, borne of a totalizing but defective theory of habitat, and even a dubious theory of architectural form itself. As the Post-Modernist Rem Koolhaas observed (in his 1995 book S,M,L,XL), “Modernism’s alchemistic promise, to transform quantity into quality through abstraction and repetition, has been a failure, a hoax: magic that didn’t work.” Nor was Koolhaas the first to attack the ideological foundations of Modernism. Similar criticisms came from earlier insiders like Sibyl Moholy-Nagy, wife of Bauhaus pioneer Lazslo, whose stinging 1968 essay on the Bauhaus labeled it “Hitler’s Revenge.” Its built works in the US carried, for her, “the browbeating symbolism of a negative ideology that was already bankrupt when the dying German Republic unloaded it on America.”
Yet for a movement that has been so frequently discredited, Modernism still has a curious grip on the profession even today. That’s because from the beginning, according to historian James Stevens Curl, the movement has been populated by “architectural bullies” who would stop at nothing to seize power, extinguish its competitors, re-write history, forbid all other styles (especially those with any ornament), and otherwise enforce a radical agenda — one that only seemed to offer all things alluring, progressive and historically inevitable. Beneath that marketable cover story, he says, the real agenda was an exhilarating quest for power and dominance, and especially later, for the wealth generated by a profitable industrialization of the human environment. Modernism sold, and no matter if it also sold out—cities, people, history, the future. For Curl, that approach was (and is) nothing less than “architectural barbarism.”
February 18, 2019
Modernism as “architectural PTSD”
In Architect, the Journal of the American Institute of Architects, Witold Rybczynski reviews James Stevens Curl’s Making Dystopia: The Strange Rise and Survival of Architectural Barbarism:
The buildings in my neighborhood, Logan Square in downtown Philadelphia, fall roughly into two categories. There are those that offer visual pleasure, whether they are modest run-of-the-mill brick row houses or the rather grand Board of Education Building, an Art Deco-ish pile topped by busts of Sir Isaac Newton, Ben Franklin, and Alexander Graham Bell. “How nice that someone actually took the trouble,” I think as I walk by. And then there is the second category: utilitarian apartment slabs with unrelieved gridded façades, infill condo housing that looks as if it had been trucked in from the suburbs, a grim precast concrete retirement home that takes up a whole block. “I wish they hadn’t built that,” is my all too common reaction. The Board of Education Building dates from 1932. That’s the approximate cut-off date. Before the 1930s, the buildings are pretty good; after that, not so much. What happened?
The answer to that question is the subject of James Stevens Curl’s controversial new book, Making Dystopia: The Strange Rise and Survival of Architectural Barbarism (Oxford University Press, 2018). Curl is a British architectural historian, professor emeritus at De Montfort University in Leicester, and the author of more than 40 books, including the well-regarded The Victorian Celebration of Death (most recently updated in 2004) and The Oxford Dictionary of Architecture (1999). According to Curl, what happened was “architectural barbarism,” which is how he characterizes modern architecture. He does not mince words. Describing the emergence of the International Style in the 1920s, he writes: “It became apparent that something very strange had occurred: an aberration, something alien to the history of humanity, something destructive aesthetically and spiritually, something ugly and unpleasant, something that was inhumane and abnormal, yet something that was almost universally accepted in architectural circles, like some fundamentalist quasi-religious cult that demanded total allegiance, obedience, and subservience.”[…]
Buildings like PSFS were not the result of the First World War, of course, but it was the war that opened the door to radical change — whether it was political (Nazism), economic (the New Deal), or architectural (Modernism). This, rather than Curl’s theory of a quasi-religious cult, is a more convincing explanation for the “strange rise” of modern architecture. As the title of his book suggests, the author assumes malevolence on the part of Gropius, Le Corbusier, et al., but what if the International Style was instead the result of a sort of postwar architectural PTSD?
[…]
The ultimate failure of modern architecture is not that it was incapable of producing beautiful works of individual art. There have been plenty of those, pace Professor Curl. The real drawback is that while the Modern Movement effectively suppressed an architectural language that had taken hundreds of years to evolve, it proved incapable of developing a successful substitute, the weak-kneed antics of Postmodernism notwithstanding. The strength of pre-modern architecture was that it provided a rich variety of modes of expression. It permitted complicated things to be said in complicated ways, and simpler things in simpler ways, analogous to the spoken language, which can be used to write drama and poetry or instruction booklets.
February 10, 2019
A debate on the impact of Brutalism on British cities
In Prospect magazine, James Stevens Curl and Barnabas Calder disagree on how Brutalist architecture has influenced destroyed urban areas in so many British cities. This is Curl’s opening salvo:
20 Fenchurch Street in London has been nicknamed the “Walkie-Talkie” due to its distinctive design.
Image by Toa Heftiba via Wikimedia Commons.
Visitors to these islands who have eyes to see will observe that there is hardly a town or city that has not had its streets — and skyline — wrecked by insensitive, crude, post-1945 additions which ignore established geometries, urban grain, scale, materials, and emphases.
Such structures were designed by persons indoctrinated in schools of architecture in ways that made them incapable of creating designs that did not cause immense damage and offend the eye, the sensibilities, and the spirit. Harmony with what already exists has never been a consideration for them, as it was not for their teacher: following the lead of “Le Corbusier” (as Swiss-French architect Charles-Édouard Jeanneret called himself), they have, on the contrary, done everything possible to create buildings incompatible with anything that came before. It seems that the ability to destroy a townscape or a skyline was the only way they have been able to make their marks. Can anyone point to a town in Britain that has been improved aesthetically by modern buildings?
Look at the more recent damage done to the City of London, with such crass interventions as the so-called “Walkie-Talkie” (which, through its reflectivity, has caused damage on the street below), or the repellent stuff inflicted on several cities by the infamous John Poulson and some of his bent cronies (from the 1950s until they were jailed in 1974). Quod erat demonstrandum.
How has this catastrophe been allowed to happen? A series of totalitarian doctrinaires reduced the infinitely adaptable languages of real architecture to an impoverished vocabulary of monosyllabic grunts. Those individuals rejected the past so that everyone had to start from scratch, reinventing the wheel and confining their design clichés to a few banalities. Today, form follows finance, when modern architecture is dominated by so-called “stars,” and becomes more bizarre, egotistical, unsettling, and expensive, ignoring contexts and proving stratospherically remote from the aspirations and needs of ordinary humanity. Their alienating works, inducing unease, are, without exception, inherently dehumanising and visually repulsive.
February 4, 2019
QotD: Brasilia and reconciling with Jane Jacobs
Brasilia is interesting only insofar as it was an entire High Modernist planned city. In most places, the Modernists rarely got their hands on entire cities at once. They did build a number of suburbs, neighborhoods, and apartment buildings. There was, however, a disconnect. Most people did not want to buy a High Modernist house or live in a High Modernist neighborhood. Most governments did want to fund High Modernist houses and neighborhoods, because the academics influencing them said it was the modern scientific rational thing to do. So in the end, one of High Modernists’ main contributions to the United States was the projects – ie government-funded public housing for poor people who didn’t get to choose where to live.
I never really “got” Jane Jacobs. I originally interpreted her as arguing that it was great for cities to be noisy and busy and full of crowds, and that we should build neighborhoods that are confusing and hard to get through to force people to interact with each other and prevent them from being able to have privacy, and no one should be allowed to live anywhere quiet or nice. As somebody who (thanks to the public school system, etc) has had my share of being forced to interact with people, and of being placed in situations where it is deliberately difficult to have any privacy or time to myself, I figured Jane Jacobs was just a jerk.
But Scott has kind of made me come around. He rehabilitates her as someone who was responding to the very real excesses of High Modernism. She was the first person who really said “Hey, maybe people like being in cute little neighborhoods”. Her complaint wasn’t really against privacy or order per se as it was against extreme High Modernist perversions of those concepts that people empirically hated. And her background makes this all too understandable – she started out as a journalist covering poor African-Americans who lived in the projects and had some of the same complaints as Brazilians.
Her critique of Le Corbusierism was mostly what you would expect, but Scott extracts some points useful for their contrast with the Modernist points earlier:
First, existing structures are evolved organisms built by people trying to satisfy their social goals. They contain far more wisdom about people’s needs and desires than anybody could formally enumerate. Any attempt at urban planning should try to build on this encoded knowledge, not detract from it.
Second, man does not live by bread alone. People don’t want the right amount of Standardized Food Product, they want social interaction, culture, art, coziness, and a host of other things nobody will ever be able to calculate. Existing structures have already been optimized for these things, and unlesss you’re really sure you understand all of them, you should be reluctant to disturb them.
Third, solutions are local. Americans want different things than Africans or Indians. One proof of this is that New York looks different from Lagos and from Delhi. Even if you are the world’s best American city planner, you should be very concerned that you have no idea what people in Africa need, and you should be very reluctant to design an African city without extensive consultation of people who understand the local environment.
Fourth, even a very smart and well-intentioned person who is on board with points 1-3 will never be able to produce a set of rules. Most of people’s knowledge is implicit, and most rule codes are quickly replaced by informal systems of things that work which are much more effective (the classic example of this is work-to-rule strikes).
Fifth, although well-educated technocrats may understand principles which give them some advantages in their domain, they are hopeless without the on-the-ground experience of the people they are trying to serve, whose years of living in their environment and dealing with it every day have given them a deep practical knowledge which is difficult to codify.
How did Jacobs herself choose where to live? As per her Wikipedia page:
[Jacobs] took an immediate liking to Manhattan’s Greenwich Village, which did not conform to the city’s grid structure.
Scott Alexander, “Book Review: Seeing Like a State”, Slate Star Codex, 2017-03-16.
February 2, 2019
QotD: Le Corbusier
So the early modern period is defined by an uneasy truce between states who want to be able to count and standardize everything, and citizens who don’t want to let them. Enter High Modernism. Scott defines it as
A strong, one might even say muscle-bound, version of the self-confidence about scientific and technical progress, the expansion of production, the growing satisfaction of human needs, the mastery of nature (including human nature), and above all, the rational design of social order commensurate with the scientific understanding of natural laws
…which is just a bit academic-ese for me. An extensional definition might work better: standardization, Henry Ford, the factory as metaphor for the best way to run everything, conquest of nature, New Soviet Man, people with college degrees knowing better than you, wiping away the foolish irrational traditions of the past, Brave New World, everyone living in dormitories and eating exactly 2000 calories of Standardized Food Product (TM) per day, anything that is For Your Own Good, gleaming modernist skyscrapers, The X Of The Future, complaints that the unenlightened masses are resisting The X Of The Future, demands that if the unenlightened masses reject The X Of The Future they must be re-educated For Their Own Good, and (of course) evenly-spaced rectangular grids.
(maybe the best definition would be “everything G. K. Chesterton didn’t like.”)
It sort of sounds like a Young Adult Dystopia, but Scott shocked me with his research into just how strong this ideology was around the turn of the last century. Some of the greatest early 20th-century thinkers were High Modernist to the point of self-parody, the point where a Young Adult Dystopian fiction writer would start worrying they were laying it on a little too thick.
The worst of the worst was Le Corbusier, the French artist/intellectual/architect. The Soviets asked him to come up with a plan to redesign Moscow. He came up one: kick out everyone, bulldoze the entire city, and redesign it from scratch upon rational principles. For example, instead of using other people’s irrational systems of measurement, they would use a new measurement system invented by Le Corbusier himself, called Modulor, which combined the average height of a Frenchman with the Golden Ratio.
The Soviets decided to pass: the plan was too extreme and destructive of existing institutions even for Stalin. Undeterred, Le Corbusier changed the word “Moscow” on the diagram to “Paris”, then presented it to the French government (who also passed). Some aspects of his design eventually ended up as Chandigarh, India.
Scott Alexander, “Book Review: Seeing Like a State”, Slate Star Codex, 2017-03-16.
