Psychotic Spaces: Condo Commercials

Psychosis can bluntly be defined as a condition of losing touch with reality.

New condo commercials present truly psychotic spaces, spaces with no connection with reality.

One recent example is the commercial for Redrow development in London. The commercial was pulled after widespread criticism (Telegraph). The scenes from the commercial are remarkable regarding describing the city as a distant reality and the protagonist as a winner (we are not sure what he won, but he says ‘I did this’ at the end).

Another example is the commercial for Quasar Istanbul which is a luxury housing development in Istanbul. The promotional film shows various images, like gardens, jewellery, women posing in weird poses, but we don’t see the houses. That’s a bit odd regarding this is an advertisement to sell houses, or is it? It is a like a thriller/horror movie trailer and a quite a long one. Just to save you, the real deal starts after 00:52.

The two commercials show us examples of psychotic spaces framed in such advertisements: spaces away from reality, distant from everyday life and wrapped with superpowers and some illusions.

Both commercials have a feeling of walking into one’s delusions …

If these are just imaginary thought exercises or thriller movies, it would probably be fine. But, there are tools to reproduce our cities, and not in a very pleasant way. I don’t know you, the reader, but this is not the city I would like to live in.

Maybe, just maybe, it is time to come back to reality.

Divided Cities: Old and New

Guardian Cities recently released a documentary series called Divided Cities.

As our world grows more polarised, Divided Cities goes beyond Trump and Brexit to tell the story of five cities that reflect big global divisions in surprising and troubling ways.

The series provides a broader perspective on being divided in contemporary times. While it includes a classic example for a divided city through the case of Nicosia – “the UN-patrolled barricade that cleaves the island of Cyprus into a mostly Greek Cypriot south and Turkish Cypriot north”, it also expands it through the case of Memphis – “One of the worst of the country’s so-called “food deserts” is in Memphis, Tennessee, where many neighbourhoods lack what seems a basic right in richer neighbourhoods – a supermarket.”

Although I agree with the Guardian editors that divisions, segregation and exclusion in our cities are rampant, divided cities is hardly a new concept. Cities have been perhaps divided since they have been first founded. Miletos, Jerico, Ur, … they have all produced and reproduced various divisions, segregations and exclusions within.

For our contemporary cities, being spatially divided is perhaps another embodiment of divisions such as class or race. Although in contemporary cities official racial segregation has not been like the case as it was in South Africa and redlining in the US, it continues in more indirect,  or perhaps insidious, ways. Segregation by class, on the other hand, is normalised, accepted and happening full-fledged.

This normalised way of segregation and exclusion creates everyday discrimination against working classes. It becomes visible incident by incident when it reaches a truly outrageous stage. We have seen this in the case of a segregated playground where children living in social housing were not allowed to use the playground in a common area of residential development in London. Another example was the poor door incident, when the poor door practice – providing separate entrances for ‘market’ and ‘affordable’ housing residents in the same building – hit the headlines, it created such a reaction. However, these incidental reactions are hardly providing solutions for the main problem. Although these outrageous attempts might be taken under control, as it happened in London after the segregated playground incident, overall class-based segregation is normalised and accepted in contemporary cities. Otherwise, it would not be possible to displace hundreds of social housing residents to build more condos and so-called luxury housing developments in cities like London and Manchester.

Perhaps the solution lays behind to challenge the common-sense of our times that for the many it is good enough to live in good enough conditions and places, while the few are entitled to live in privileged places.

(Image Credit: The Guardian | Matt from London/Flickr)

BEAUTÉ BRUT: Preston Bus Station

Completed in 1969 by Keith Ingham and Charles Wilson, a pair of architects working for British firm Building Design Partnership (now known as BDP), the 170-metre-long structure became the largest bus station in Europe and a poster child for the Brutalist style.

The colossal scale of the structure – it boasts 40 gates for double-decker buses on both its east and west sides – is seen as both the building’s greatest feature and, by some, its failing. It faced demolition in 2013, following reports that a much-needed renovation could cost as much as £23 million due to the size of the project. But its popularity amongst both local residents and architects led to a heritage listing that blocked any future redevelopment of the site. (Dezeen)

Now, as its renovation is completed, it’s plain that the bus station deserves to stand alongside the other robust civic masonry that Preston, like many industrial cities, boasts: the neo-Greek Harris Museum and Art Gallery; the Edwardian baroque Sessions House. (Guardian)

 

 

Image Credits: Wikipedia, Lancashire Council, 20th Century Architecture, Dezeen, Tom Clarke, theplanner

BEAUTÉ BRUT: The Brunswick Centre, London

The Brunswick Centre – an early experiment in planned mixed-use development of housing with retail and commercial uses – occupies a city block between the Russell and Brunswick Square Gardens, with Coram’s Fields lying to the east. The centre is well served by the nearby Russell Square underground station. (academyofurbanism)

 

The site was originally occupied by Georgian townhouses on the estate of the Foundling Hospital. During the mid 1950s this was bought by a private developer whose plan from the outset was to clear the site to make way for two 25-storey tower blocks containing luxury flats and retail. These proposals were resisted by the borough of Camden and the developer was recommended to the consult the renowned post-war architect Leslie Martin. He championed low rise development and maintained that an equal density of development could be achieved on the site with two parallel blocks. At this stage he handed the project to Patrick Hodgkinson to take forward. (academyofurbanism)

Development commenced in 1967 and was finally completed in 1972. However, the original developer went bankrupt during construction and the project was sold to Sir Robert McAlpine construction. The housing element was bound into contractual obligations and completed as per the original design. After the 1964 general election, furnished tenants were given security of tenure, and Camden Council agreed to rehouse in social housing all existing tenants. (academyofurbanism)

 

The compound appeared in various popular media pieces such as in the movie The Passenger (1975) as Jack Nicholson visiting the centre and even the Finnish group Lodgers wrote a song for the Brunswick Centre. It has been more than a half of a century, it is still alive and kicking!

(Image Credits: e-architect, Guardian, londonist, academyofurbanism, timeoutlondon,

Mackintosh Tower, The Lighthouse, Glasgow

Mackintosh Tower, The Lighthouse, Glasgow

STORIES BEHIND: A Duke with a Cone?

Some statues mark their presence with a twist, and this is one of those: the statue of Duke of Wellington in Glasgow.

The statue is a part of the cityscape and famous with its cone on top of it.

 

 

The statue was erected in 1844. So, the story goes back some time. Not a definite one though. It is not certain when the cone had first been placed. But, one day, people of Glasgow woke up with the scene that an equestrian statue of a mighty Duke appeared to have a traffic cone on its head.

The statue was listed one of the top ten most bizarre monuments on Earth by Lonely Planet (inews). Clearly, it is loved by the public and tourists since it has many appearances like a replica of the statue erected in the opening ceremony of Glasgow’s 2014 Commonwealth Games. Lovely, isn’t it?

Despite the statue’s popularity due to the cone, the cone has been removed several times and put back. The council even passed some plans to end this tradition by raising the height so people cannot climb to put the cone back. The plans were backfired, for obvious reasons. Why would it be another boring man with a horse statue? Who does not like a Duke with a traffic cone?

The council had said that raising the height would end a practice which projected a “depressing image” of Glasgow and would save the £10,000 cost of removing the cone 100 times a year. The scheme would have seen a new granite-clad concrete base of 86cm (34in) added to the memorial to raise its overall height.

However, the council has reconsidered its decision after an online petition called “Save Wellington’s Cone”, which gathered thousands of signatories in just a few hours, and a Facebook campaign which had planned a rally in support of the cone.

A council spokesman said: “The wording of the report was appalling and the leader of the council (Gordon Matheson) has instructed officers to withdraw the planning application.” (BBC)

Also, as the campaigners state “The cone on Wellington’s head is an iconic part of Glasgow’s heritage, and means far more to the people of Glasgow and to visitors than Wellington himself ever has.” (BBC). Besides, in the campaign, there are a few good points which may affect the council’s decision such as “does anyone really think that a raised plinth will deter drunk Glaswegians?” Well, I agree with that!

Among other things, there is one point that we are not quite sure: What would Duke Wellington think about this?

Luckily, we have historians! According to inews, historian Dudley-Edwards argues that “Wellington himself would have been amused by the practice and embodied the ‘keep it coney’ ethos” since “He liked to keep it real”.

At the end of the day, the duke with a cone is a Rabelaisian act against mightiness of equestrian figures. The equestrian figures are usually associated with power and glorification of a person. The cone, on the other hand, turns the statue into a human being again.

Even better, there is a second twist in this story, the statue is located right in front of the Gallery of Modern Art. Yes, that is right. There is a classical equestrian statue right in front of a modern art gallery and it has a cone on the top of its head!

Bonus: A rare shot of the statue without a cone, but with a seagull!

 

(Image Credit: inews / eveningtimes.co.uk)

Measuring magic: It is all about love darling!

As folks of great Earth, Wind and Fire told us, it is All About Love, and Fred Kent from the Projects for Public Spaces cannot agree more!

Places exude a kind of magnetism, a draw that brings people closer together—lovers and strangers, alike. Whether sharing a kiss, or simply sharing a bench, there are endless examples of closeness and affection all brought about by great public spaces.

This affection isn’t just icing on the cake; it’s a basic human need. “It’s a big idea, affection,” observes PPS founder Fred Kent, “because it’s everywhere. Every community, every culture, every human being has a need for affection, for engaging with people, for connecting with people.” As our recent Healthy Places report reveals, social support and interaction provides important benefits to mental wellbeing and feelings of safety. Meanwhile, social isolation contributes to depression, stress, and can also undermine a community’s resilience in the face of disaster.

But affection relies on a deep sense of comfort. People must feel physically and mentally at ease before they open up to show signs of love and friendship. (Project of Public Space)

Check this great article on what makes public spaces places for people!

Or you can just listen to the folks below.

The trees and the birds
And if there ain’t no beauty
You gotta make some beauty
Have mercy
Listen to me, y’all

 

1 city, 26 maps, a whole lot of Barcelona!

Barcelona is an amazing city in many ways!

It has an interesting history of urban development as well. Museu D’Historia De Barcelona released an interactive map combining 26 maps of the city throughout its history. It overlaps loads of information about urban development starting from 150 AD to 2010.

In 1859, the medieval-era walls that had surrounded Barcelona since the 13th and 14th centuries had already started to come down. In this year, the city approved an expansion plan proposed by Spanish urban planner Ildefons Cerdà, which was hailed as “one of the most revered international examples of modern planning and urban design” by Judith Urbano, an architecture professor at Universitat Internacional de Catalunya. It laid the foundations of modern Barcelona. (CityLab)

Check the website here!

Stories Behind: Mary Barbour and The Legendary Rent Strike

Some stories are never to be forgotten. After a hundred years, Mary Barbour’s statue now stands at Govan Cross.

I am starting a new series called “Stories Behind” telling the stories behind statues on the streets.

The series starts with a brave woman, Mary Barbour, whose statue was erected in Govan, Glasgow today at the International Women’s Day.

The early 1900s were the times of overcrowding and poor living conditions in Glasgow.  The workers were flocking into the cities to work at newly emerging industries and the landlords were benefiting of this. During the World War I the rent incresese reached up to 25 %, and the rent strikes were against this unacceptable rates.

Tenants across the city refused to pay increases imposed since the start of the war. So, their point is, this increases were unacceptable and unaffordable by many working class families.

Yet the Glasgow Women’s Housing Association, established before 1914 to fight for better housing conditions, soon galvanised growing discontent over the increases by calling for a city-wide rent strike … . Early support from the areas closest to the shipyards, such as Govan and Partick, where tens of thousands were crammed into poorly maintained tenements, soon spread across much of the city. By September 1915 around 20,000 households were on rent strike in Glasgow alone, and the protests were spreading to other parts of the west of Scotland and beyond. (theconservation)

Mary Barbour was a leading figure in the epic rent strike started in Glasgow in 1915. The strikers formed eviction resistance groups, mainly women, which were dubbed as “Mrs Barbour’s Army”. (commonspace)

This is how they organised the strike and prevent evictions:

one woman with a bell would sit in the tenement close, watching while the other women living in the tenement went on with their household duties. Whenever the Bailiff’s Officer appeared to evict a tenant, the woman in the passage immediately rang the bell, and the other women put down whatever work they were doing and hurried to where the alarm was being raised. They would hurl flour bombs and other missiles at the bailiff, forcing him to make a hasty retreat.  It is said they even pulled down his trousers to humiliate him! (Remember Mary Barbour)

The rent strike started in September and by November more than 25,000 working class families were refusing to pay rent. As a result of the strike, the Parliament passed the Rent Restriction Act. This froze rent at 1914 levels unless improvements had been made to the property.

The strikers’ demands had been met.

Remember Mary Barbour Campaign raised funds to errect a statue of Mary Barbour to commemorate her legacy. The statue now stands at Govan as a constant reminder of the legendary rent strike in Glasgow.

 

 

(Image credit: Top Eveningtimes / Bottom Personal Archive)

BEAUTÉ BRUT: Collegio del Colle, Urbino

 

Collegio del Colle, Urbino (PU), 1962-1965

Collegio del Colle is located in the hills of Urbino. It is the first one of four university colleges realized by De Carlo between 1973 and 1983. The sloping terraces follow the land shapes. De Carlo tries the interpenetration between the shapes of architectural volume and the morphology of Urbino. This section represents a cell, which is composed by two bedrooms in two different floors.
This group of building is mainly made of exposed bricks; the main structure and the cantilevered elements are made of reinforced concrete. Even if his architecture is a natural inclination of the hills, the materials he used underline their strong presence in the landscape. (Claretta Mazzonetto)

The early “collegio del colle” is formed by a central nucleus with collective services, surronded by several groups of small residential cells, lying on a hill near the city of Urbino. Concrete and brick constructive elements are in harmonic contrast with the landscape. The following three groups of “collegi” (vela, aquilone, tridente), were added between 1973 and 1983, creating a organic ensemble. (Francesco Di Bella)

 

 

Giancarlo De Carlo (1919-2005) has been one of the most influential figures of the Italian architectural scene of the second half of the twentieth century. A protagonist of the architectural debate since the mid-1940s, De Carlo visited Urbino for the first time in 1951, invited by the dean of the university, the writer Carlo Bo, who, in the following year, commissioned him the renovation of the ancient seat of the atheneum in the historic center of the city. Such a commission marks the starting point of the long relationship that ties the life and work of the architect to the city of the Marches: the collaboration first with the university and then with the municipality is kept alive up to last years before De Carlo’s death. (detailsinsection)

 

 

Image Credits: sosbrutalism, istate, organiconcrete, wikimedia, spatialagency, divisare,