Architecture

Thursday

Stephen Bayley

The disgraceful decision to remove Liverpool’s heritage status

Unesco has cancelled the ‘World Heritage Status’ of the Necropolis at Memphis and the Giza Pyramid because a Radisson Blu hotel has been built in neighbouring Cairo. That’s not true, but for a similarly absurd reason Liverpool has been de-listed from heritage Valhalla by word-mincing bureaucrats. Not many Liverpudlians will care about this imbecilic and ignorant decision – Liverpool is the capital of itself and does not look to London, still less to Paris or Brussels. The tragedy here is not Merseyside’s status, but Unesco’s blindness. In recent years, Liverpool has demonstrated exactly the mixture of respect for the past and optimism for the future that all great cities need.

Thursday

The Spectator

Letters: We can’t build our way out of the housing crisis

Excess demand Sir: Liam Halligan (‘The house mafia’, 26 June) treats us to an exposé of the shoddy products of the mass housebuilders. In the course of his article, however, he accepts as given that the solution to the housing crisis is to build more houses. The problem, however, is not one of deficient supply; it is a problem of excess demand, driven by ultra-low interest rates, kept so low for so long that the result has been an out-of-control housing boom. The young are being prevented from buying a house, not because housebuilders hoard land and refuse to build, but because buyers with access to eye-watering amounts of borrowed

Thursday

Jessica Douglas-Home

Why is modern architecture so ugly?

In Chesham and Amersham last week, Tory voters punished the government, not only for building on greenfield sites, but for allowing the construction of too many ugly, badly designed buildings. The British public are fed up with modern architecture. Despite polls that prove this time and time again, architects simply ignore people’s views. Indeed, if the public has the temerity to criticise their latest works, there is uproar — as I have discovered to my cost. At a dinner in late 2019, I asked Norman Foster, the ‘starchitect’ of such things as London’s widely derided City Hall and the Berlin Reichstag, if he was pleased by the government’s new Building

Thursday

Laura Freeman

Bricks and pieces: the blight of London’s fake facades

‘I found Rome a city of bricks and left it a city of marble.’ So Augustus is supposed to have said. What would an emperor of London say today? ‘I found the capital a city of bricks and left her a city of rubble’? London bricks are falling down. Across the capital, brick facades are coming off in chunks. Like the Cadbury chocolate Flake, this is the crumbliest, flakiest brickwork. I was all for the new brick city. I’m a brickwork bore. Away with glass, away with steel! Build back better, build back brick. When I saw brick buildings going up in new developments I cheered. I will bang on

Thursday

Stephen Bayley

The magnificent fiasco of Mies van der Rohe’s Farnsworth House

John Ruskin believed the most beautiful things are also the most useless, citing lilies and peacocks. Had he known about the Farnsworth House in Plano, Illinois, a rural community 50 miles west of Chicago, he might have suggested it too. Except this modernist building of 1951 is an evolved expression of the emerging industrial culture Ruskin so despised. But it is several other things too, notably an example of fraught transactions between architect and client. The Farnsworth test case became a trial whose transcript ran to 3,800 pages. Of all relationships, except that between a firing squad and its target, the architect-client example is the one most predictably headed for

Wednesday

Martin Gayford

From temple to labyrinth — the art museum today

At a certain point, the critic Robert Hughes once noted, at the heart of American cities churches began to be replaced by museums. Much the same occurred elsewhere in the world in the later 20th and early 21st centuries. Museums have sprouted from the earth in many diverse forms and numerous places. Enormous sums have been lavished on them. Vast processions of visitors file through their doors like medieval pilgrims — or at least they did before the pandemic struck. Once, there was widespread agreement as to what should go inside these temples of the arts: old master paintings, ancient carvings, the best and noblest artefacts humanity has produced. This

Thursday

Stuart Jeffries

Skyscraper squats and a lesson from India: the future of British architecture

Not long ago, if you asked discreetly in the right Hackney pub, you would be put in touch with a character called Syd the Squatbroker. For as little as £150, he would gain access to the roof of an abandoned council tower block with a set of fireman’s keys. Then Syd (nom de guerre of a carpenter from Harlow) would abseil down to a window, gain entry and open an empty flat. Sometimes he would cut through heavy steel squat guards using oxyacetylene cutting gear. Latter-day squatbrokers aren’t yet abseiling down the Shard or Canary Wharf’s glass and steel phalluses to liberate underused office spaces and thereby help solve London’s

John Maier

A passion for pastiche: China’s Potemkin villages

Closely inspect No. 23 Leinster Terrace, Bayswater and you might notice the house has no letter box. Push at the door and you might find it stuck; force your way in and you might find you plummet 40 feet through open space down an obsolete ventilation shaft on to the tracks of the District Line. The house is a fake; a five-storey façade; an architectural trompe l’oeil disguising a disused steam outlet on the London Underground. (Or, as the estate agent might yell down to you, the property combines an airy open-plan design with excellent transport links right on the doorstep.) Flaws notwithstanding, the white stucco frontage — owned and

Thursday

Oliver Basciano

The death of the Southbank Centre

The one thing everyone agrees is that the Southbank Centre is in deep trouble. In May, the institution made an unusually public plea for government help. Management predicted the best-case scenario was ending the financial year with a £5 million loss, having exhausted all reserves, used the £4 million received from the furlough scheme and having gobbled up the remainder of its Arts Council grant. All the while, with the exception of the Hayward Gallery, the 21-acre site on London’s Thameside, incorporating both the Royal Festival Hall and the Queen Elizabeth Hall, remains closed. It was pitiful news, but there was worse to come. With no concerts, performances, talks or

Thursday

Stephen Bayley

Clean lines and dirty habits: the Modernists of 1930s Hampstead

With its distinctive hilly site and unusually coherent architecture (significantly, most of it domestic rather than civic), Hampstead has always had a singular character. But it is as much a state of mind as an address. Although two of England’s greatest native artists, Keats and Constable, made it their home, over the past three centuries Hampstead has notably attracted waves of exotics: French, Spanish and Jewish. These immigrants, struggling with heavy baggage labelled ‘high culture’, have had a huge influence on the neighbourhood. Perhaps the geography and townscape — a miniature city on a hill defined by secret places, alleyways and architectural surprises, a defensible space both in terms of

Thursday

Laura Freeman

From cartoons to stage design: the genius of Osbert Lancaster

‘Bigger,’ said Sir Osbert Lancaster when asked the difference between his work for the page and for the stage. ‘Definitely bigger.’ For almost 40 years Lancaster was the ‘pocket cartoonist’ for the Daily Express. He had remarked to the features editor that no English newspaper had anything to match the little column-width cartoons of the French papers. ‘Go on,’ said the editor, ‘give us some.’ On 1 January 1939, Lancaster gave them the first of around 10,000 line-drawn cartoons. His subjects were the war, the Blitz, the weather, Stalin, Hitler and Dr Spock, the Swinging Sixties, the Common Market, the test tube baby and the topless swimsuit. His heroine, his

Thursday

Peter York

The man who built Britain’s first skyscraper

In 2011 Britain’s first skyscraper was finally given Grade I listing. The citation for 55 Broadway — the Gotham City-ish home of Transport for London, which sprouts up from St James’s Park Station — said that the building was important in a number of ways: its architect Charles Holden, the designer of Senate House and a range of breakthrough modernist Tube stations in the 1930s, was increasingly recognised as major. The building’s scale and structure were pioneering for London in 1929. And the sculpture on its otherwise plain façades was by important artists including Jacob Epstein, Eric Gill and the young Henry Moore (his first work on a public building

Thursday

Geoff Dyer

Vegas dreamtime

It’s to be expected. You take photographs in order to document things — Paris in the case of Eugène Atget in the late 19th and early 20th centuries, the shacks of the American south in the case of Walker Evans in the 1930s — and these documents then acquire a quality of elegy. What is extraordinary is the speed with which this happens, the brevity of the ‘then’. As soon as the images emerge in the developing tray — even, conceivably, the moment the shutter is clicked — they are imbued with how they will be seen in the future. The photographs in Fred Sigman’s book Motel Vegas were commissioned

Thursday

Dot Wordsworth

Bolection

A pleasant menagerie of words grazes in the field of architectural mouldings (the projecting or incised bands that serve useful and aesthetic purposes): gadroon, astragal, larmier and rabbet, but none is chunkier or more mysterious than bolection. Bolection mouldings cover joints, especially between surfaces of different levels, such as round the panels of a door. Such three-dimensional things are hard to describe clearly in words. No one knows the origin of bolection and even its proper form is uncertain: balection, belection, bilection, bolexion. It sounds like the Liberal Democrat attitude to Brexit. Gadroon derives from the name of a round convex fold sewn into a piece of textile, found as

Thursday

Stephen Bayley

An idea made concrete

Was the Bauhaus the most inspired art school of all time or the malignant source of an uglifying industrial culture which has defiled our cities? Two books look at its influence abroad after 1933 when the Nazis put the jackboot in. The Bauhaus was nothing if not modern — even if ‘modern’ is now a historical style label and the Bauhauslers were as trapped in their historical circumstances as we are in our own. This was noticed and ridiculed by Tom Wolfe in his 1981 squib, From Bauhaus to Our House, a book as bristling with cheerful spite as with clever wordplay. Although not quite so simple, the Bauhaus was

Thursday

Jonathan Meades

What next for Notre Dame?

Notre Dame is only important from a Shakespeare’s-birthplace point of view. Architecturally it is a nullity beside the cathedrals of Beauvais and Laon, Albi and Marseille, Rouen and Clermont-Ferrand (a sinister marvel of black tufa). The ashes of the cathedral are now the site of a proxy struggle between some of the greatest fortunes on the planet. The struggle has begun with the architectural competition announced by the widely loathed Macron and the so far less loathed PM Édouard Philippe. How will the competition be conducted? Who will select the committee that will select the committee that selects the architect or engineer whose name will get attached to the building

Igor Toronyi-Lalic

The ugly truth

Timothy Hyde’s Ugliness and Judgment: On Architecture in the Public Eye is not about why we find things ugly. It’s not even about what ugliness is, or why our understanding of what it is see-saws so violently. We don’t learn why people once loathed John Nash’s All Souls at Langham Place, one MP calling it ‘a horrible object’, or what insanity led Edwin Lutyens to condemn — as ‘an ugly angle’ — roofs slanted at 45 degrees. The mud-slinging doesn’t interest Hyde. How the slung mud shapes us excites him much more. Arguments over ugliness, he contends, are never just about aesthetics. They’re a proxy for social, political, even theological,

Thursday

J.J. Charlesworth

Keep politics out of art

If you want to lose friends and alienate people in the art world, try telling them you support Britain leaving the EU. As someone on the left, I’ve always argued a left-wing case for leaving. It is, to say the least, an unfashionable position, usually met with anxious looks, sullen silence or overt hostility from one or other artist, curator or art bureaucrat. That the art world should be against Brexit should come as little surprise. It’s striking, however, how far art has become involved in the burning political questions and controversies of the moment, to the extent that making art is often seen as nothing more than an extension

Thursday

Philip Hensher

‘Working late at the Bauhaus’

Walter Gropius (1883–1969) had the career that the 20th century inflicted on its architects. A master of the previous generation in the German-speaking lands, Otto Wagner, could create his entire oeuvre without venturing outside the city limits of Vienna. Gropius found himself thrust into one unprecedented role after another, uprooted and exiled repeatedly. His work was carried out wherever he landed — in Germany, England or America. Despite the huge disruptions of history, he displayed extraordinary single-mindedness. From the 1914 Fagus factory onwards, his buildings argued for the modernist position of function over ornament. By the time of his death, in America, the vast majority of practising architects, if not

Thursday

Roger Scruton

Home truths | 21 February 2019

The creation of a commission to examine beauty in new building created a stir in the media, with the chairman subjected to a hate storm of unusual turbulence even by the standards that he regularly has to endure. Hate storms arise when powerful interests are threatened, and this was no exception. There is hardly a person in this country who is not aware of what Milan Kundera has called the ongoing ‘uglification of our world’ and who does not hope that something might be done about it. No one I talk to denies the need for a large number of new houses. But they all hope that this need can