New Neighbours….

February 4, 2017 Leave a comment

I’ve been reading about the recently announced Santiago Calatrava designed centerpiece of the Greenwich peninsular development, now named somewhat prosaically as Peninsular Place…

The beautifully crafted image below shows not only the magnificence of the River Thames meandering its way peacefully along, but if you look carefully you can also see our little flat, just over the river at the bottom of the Isle of Dogs…

peninsula-place-calatrava-architecture-news_dezeen_2364_col_0

And then if you look again at the Peninsular itself, you will see what looks like thousands and thousands of new homes, in fact 15,720 new homes. Now, I don’t consider myself to be a nimby, far from it. I’m an Architect after all, involved in some pretty large residential and mixed use development schemes across London. We need homes, we need tens of thousands of affordable new homes going forward (the general feeling is about 200 thousand by the year 2020) so developments like this are both exciting and necessary…

And yet, and yet…

Is the image below really what we think future residential ares of London should look like? My partner quite rightly points out that this could be Singapore or Kuala Lumpur or Dubai… not saying that’s bad for them, but there’s not much that speaks of London about these rather ungainly shapes.. Calatrava is without doubt a gifted architect, but this to me looks very much misplaced, out of scale and borrowed from somewhere with an altogether different climate…

peninsula-place-calatrava-architecture-news_dezeen_2364_col_2

And as for affordability, only 200 of the first phase of 800 new homes will be affordable, so whilst at 25% that’s an improvement on the average 10% that Boris managed, its still much lower than the 40% that good old Ken insisted on and the likely 60 to 70% that we really need if the upcoming generations are to have any hope of home ownership..

And then of course there’s the definition of affordability itself.. One beds over here on the Island are between £350K and £500K at the moment, and I can’t help but wonder how much similar homes will cost in 5 years time when they start to become available, probably not very affordable for your average Londoner…

Finally as you watch the video, try and image what the Jubilee Line will be like first thing on a Monday morning once its complete…

 

Advertisements

Jacob Epstein: The Immigrant bringing morals to the Oval Office

February 1, 2017 Leave a comment

An excellent piece by Jonathan Jones from the Guardian about the bust of Churchill by Jacob Epstein that seems to move in and out of the Oval Office in Washington depending on who’s in charge…

Trump has put it back center stage little realising  (or caring more than likley) the history that lies behind both the work and its creator.. Just goes to show how subversive sculpture can be.

Click the picture to read the full text…

may-trump-winston

196011373a8ade64599efd85ef9daed7

 

Shepard Fairey’s Posters of Hope (Again…)

January 22, 2017 Leave a comment

Shepard Fairey, the graffiti artist responsible for the immediately recognisable Obey and Obama Hope posters, has done it again and crafted some fine additions to his impressive cannon of work…


           obey-picbarack_obama_hope_poster
Funded by a crowd sourcing campaign and printed and issued in their many thousands in time for the inauguration of the Bigoted One, they are, like most of Fairey’s work, simple and highly effective. Powerful images of diversity and equality with a hint of insurrection thrown in (the star spangled hijab is a powerful twist…)

God only knows the world needs needs something positive to hold on to after yesterday’s speech full of fear, intolerance and narrow mindedness…. American Carnage is a trully awful phrase that I hope comes back to haunt him when “the American people” realise he’s got no interest other than himself

poster_1

poster_2

poster_3

For the record, my prediction is that he’ll be gone within two years… either through impeachment, or via a move to oust him from within his own Republican Party, or through assassination by some disgruntled red neck who thinks the wall is not going up quick enough and there are still too many immigrants. Or even more likely, because I don’t believe he ever really wanted the job in the first place, he’ll get bored and engineer some event or some situation that will enable him to step away without losing any of his precious face, whilst blaming everyone except himself….

Project A119 : A Study of Lunar Research Flights…

January 15, 2017 Leave a comment

va-cold-war-modern-6In light of the imminent inauguration of the real life American Idiot, and his rather troubling views on Nuclear weaponry, I thought I’d dig out this post I drafted a couple of years ago but never got around to posting.

I’d been re-reading the book that accompanied an excellent exhibition that the V&A organised a number of years ago. Entitled “Cold War Modern” it looked at the influences on style and design brought about through the increasing political tensions and exceptional bursts of creativity that defined the post war period between 1945 and 1970. A creativity that, despite being born from challenging and difficult times, undoubtedly benefited society in the long run through an improved understanding of materials, science and technologies.

With one notable exception, and this is a tough one to believe, but for a period of time, America were genuinely looking into the practicalities of exploding a nuclear bomb on the Moon… A terrifyingly over the top and stupefyingly ridiculous act that was justified by the argument that if Americans using American technology could make such a thing happen, then it would leave the Communist Block countries in no doubt as to how powerful a nation they were dealing with…

450px-study_of_lunar_research_flights_-_vol_i_-_coverCodenamed “Project A119 or “A Study of Lunar Research Flights”, this top secret plan was first conceived in 1958, but did not become common knowledge until around 2000.

In October 1957, The Soviet Union had shocked the West with the huge success of Sputnik, the world’s first artificial satellite. America desperately needed to regain the upper hand and set about developing plans (little knowing that they would once again be beaten into second place, when in April 1961 Yuri Gagarin would be the first human to leave the earths atmosphere).

I digress. Back in 1958, various ideas were considered and a certain Carl Sagan became attached to Project A119, a name familiar to my generation as the brilliant and charismatic Astronomer and Astrophysicist who later brought the ground breaking TV show Cosmos into our living rooms in the 1980’s. The team concluded that a nuclear bomb, rather than a more visually impressive hydrogen bomb would be best, however this was due only to considerations relating to payload at take off, as hydrogen bombs are apparently significantly heavier.

The maths were fiendishly difficult, however the principles were straightforward enough: put the bomb onto a rocket, launch the rocket from a secret base in the US, fly it to the moon, crash the rocket into the moon and detonate the bomb. At the same time (once the rocket was irretrievably on its way of course) let the world know and make sure it was watching when impact occurred. One up manship at it’s most insane..

Amongst other factors, Sagan and his team had to consider trajectories, possible debris and gas dispersion in the low gravity of the moon, the likely effect of radiation on any future manned missions and the affect of the explosion on the moons orbit, not to mention any potential affects such actions might have on our own planet.

Thankfully, driven primarily by fears of negative publicity should something go wrong during take off and the bomb explode on US soil, and a general reluctance to begin the overt militarization of space, this harebrained scheme was abandoned in 1959, with NASA concluding that sending men to the moon and bringing them safely home would be a far more effective political and popular “weapon”.

So there you are, a true and sobering story. Let’s hope the incoming 45th President of the USA doesn’t read this post and decide that Project A119 might be resurrected as a way of demonstrating to the world how suitable a candidate he really is for his new role in the world….

2c0455_b39620ae45204b22a02417b0e6ba2f5f

Concrete Frieze, Rochester Row, SW1 : Definitely a William Mitchell…

December 11, 2016 2 comments

My good friend the artist Bill Mitchell was contacted recently by yet another of the growing band of admirers of his work. An email arrived from someone who works near Emanuel House on Rochester Row, SW10 and who had in passing it regularly, come to love the work. Spanning the entire front elevation of Emanuel House is a narrow, but perfectly formed concrete frieze, which undoubtedly has the tell tale style of a Mitchell…

overall-view

The reason the admirer made contact however, was to try and ascertain who the originator of the work was. As with much of Bill’s work, online references are few and far between and those that can be found are not always correct. As indeed was the case with this piece, which according to the email, was attributed to someone else even in “official” records.

Bill and his wife Joy have asked if there was anything I could do to help, and so in my own small way, by posting this here, I’m hoping to set the records straight for anyone else who notices and wonders at this little gem of a sculpture and tries to find out more…

In the words of the great man himself…

“This was the first integral piece of concrete art ever produced. It’s a ‘ring beam’ which linked all the columns and on which the remainder of the structure depended. I designed it, made the moulds and the builder poured the concrete.

image_10-copy

When I recall all the rows with structural engineers, and architects, plus the criticism from the art establishments of the time (including the Art’s Council) and the broadsides from the press – it was apparently obvious to everyone except me, why this work shouldn’t be made. Afterwards of course once it was finished, everyone agreed that it was the right thing to do, giving interest to this and many other, bleak concrete buildings thereafter, both through my own work and via the many copies.

Now I understand that the ring beam at Victoria has been attributed to someone else. This is astonishing, my work at Emanuel House was a piece of history and because of it many art critics made their names and fortunes whilst I and the builder lost money.

image_11-copy

I continued to produce public works of art and now and then when I find that some of my works have been attributed to other artists, it only serves to illustrate for me the philosophy of the time, that ‘art’ should only be in frames, and hung on the walls of London West End galleries…”

victoria_composite_2

(Apologies for the images, they’re screen grabs cobbled together this afternoon from Google street view.. I’ll update the post once I’ve been and seen the work for myself…)

Kraftwerk at the Royal Albert Hall

November 5, 2016 3 comments

99c3f134-cf55-4980-acc4-da0d3acf7d23A couple of weeks ago my very good friend Danny heorically did the tedious cyclical internet thing that is sadly now standard for these big events, and managed to get tickets for the Kraftwerk gigs next June at the Royal Albert Hall.

Despite it being more than 8 months away, to say I’m excited would be an understatement, and the show will hopefully go someway to making up for the frustration of not getting tickets for the Tate gigs a few years ago.

It won’t be the first time I’ve seen Kraftwerk with Danny, although that didn’t quite work out as we’d hoped…

Back in 1996 (which I’ve just realised was 20 years ago…) we were at The Tribal Gathering Festival at Sutton Hoo, where along with a hugely impressive line up of artists including Orbital, Daft Punk, Gus Gus, Digweed, Sasha, Jeff Mills, Hardfloor, Marshal Jefferson, Masters at Work, John Peel, Fabio & Grooverider etc etc, the mysterious Dusseldorfers were down to play their first live set in the UK for five years…

2bolptgUnfortunately we got carried away with the quality and excellence of the day, misjudged the number of people that were there specifically to see Kraftwerk, and headed rather belatedly to the Trans Europe tent only to find it was super rammed. The closest we could get was behind about ten rows of people outside the entrance to the tent. Amazingly (and I honestly don’t think this would happen nowadays) the organisers took down half of one side of the tent, so that people outside could at least see the lights and hear a bit better…

I think we stayed for 4 or 5 tunes before giving it up as a bad job and heading off elsewhere. Orbital as I remember were absolutely outstanding that day…

So, fingers crossed that next years shows in the wonderours surroundings of the Royal Albert Hall will go some way to addressing the paucity of my live Kraftwerk experience…

The only slightly nagging doubt is the description of the concerts as 3-D. This could mean that we’re all wearing funny specs and in for a stunningly visual treat, but it might also mean that the single remaining original Werker, Ralph Hutter, might not actually be there in person, opting instead to send the bands robot avatars to enteratin us…

We shall see, but regardless, when that car door slams shut and the VW Beetle ignition turns over, I for one will be a very happy man….

kraftwerk-the-robots-2004-11-10

_64578543_64578542

kraftwerk_00025

The Bizzare Captain EO….

October 31, 2016 Leave a comment

Michael-Jackson-Captain-EO-Back-3D-DisneylandI came across a 30 year old story recently involving three of the biggest names in music and film that I didn’t have the faintest idea about… So on the assumption that you might not have heard of it either and have a spare couple of minutes to read this and 16 minutes to watch the film, it goes something like this…

In August 1985 George Lucas and Francis Ford Coppola announced that along with a certain Michael Jackson they were working on “the ultimate movie experience”.

Originally known as the “International Music Man” the production now known as Captain EO (from the Greek eos or dawn) was a Disney generated idea for a themed park ride. Disneyland was struggling around the mid 1980’s and saw the idea of a big production with even bigger names, as a way of reversing the fortunes of the theme park. Accompanying the ride would be a short film that would be exclusive to the park and would not go on general release, so (they hoped) ensuring people would drive to the park to see the new attraction…

Captain EO was the tale of an emissary of light, a messiah if you will, travelling the universe saving its denizens through the gifts of song and love. There would be spaceships, space battles, assorted alien creatures and unsurprisingly with MJ on board, unfeasible amounts of dancing…

eo301

One of the first films made with the then nascent 3D technology, it was also described by Disney as the worlds first 4D production. As it was only shown in specially modified cinemas at Disneyland, the on screen effects were supplemented with lasers, smells, smoke and flying asteroids filling the cinema auditorium itself.

-Captain-Eo-Set-michael-jackson-7357527-1098-720

Like so many things involving MJ at the height of his fame, budget was seemingly not a major consideration and as a consequence the film ended up being the most expensive production ever made up to that time, supposedly almost $1 million per minute and with more effects per minute than Star Wars.

Time however was a limiting factor with both Ford Coppolla and Lucas having other projects already lined up, so once the story had been finalised, principal photography was wrapped up in less than two weeks…

eop220092LARGEBy all accounts the first edited version seen without many of the state of the art effects, was lamentably poor, allegedly it was even hidden from senior Disney executives for a while, it was so underwhelming. Jackson was no lead actor and the Muppet’s in Space appearance didn’t give the production much in the way of credibility or gravitas…

Additional filming and further editing got the film to a more acceptable state (although you can make your own mind up about that) despite one of the principle muppet characters having been lost and replaced by a painted ballcock and Angelica Houston’s role as the principle baddie being significantly reduced (possibly at her own request…)

The end result is a very strange thing. Even allowing for the now 30 year old effects, it seems unbelievably ropey given the money, talent and staus of the key players involved. A hybrid of ideas stolen from Star Wars, Alien (Houston’s Spider Queen), MJ’s Thiller video, Frank Oz’s The Dark Crystal and all points in between. Even the songs seem halfhearted and unconvincingly delivered when compared to Thriller from 2 years earlier and Bad from two years later.

Perhaps its not surprising then that even after all these years and despite a huge demand for it to be made available after Michael’s death in 2009, it can still only be seen in very poor quality versions like the one below..

There’s a detailed account of the films history here if  you’re interested..

%d bloggers like this: