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A Seaside Weekend: The Isle of Wight and Portsmouth, in Photos

The first stop on our weekend getaway was the last stop on the National Express coach, Southsea. After a brief stop at Portsmouth (which is only about a 10 minute drive away, at most) where all of the other passengers except for my wife and me disembarked, the coach pulled up in front of a vaguely futuristic but well-worn strip of buildings with a small amusement park behind them. While the overall aesthetic is mid-century futuristic, I was most impressed by the “Jurassic 3001″ sign that looked to be in an advanced state of decay and was adorned with a CCTV camera:

Because the pier at Southsea isn’t very big, its certainly not an attraction in itself (for more thorough coverage of English seaside decay, take a look at this post on Fantastic Journal or this one at Mondo a-go-go). The real attraction in Southsea is the hovercraft! I was thrilled when I discovered it was possible to take a hovercraft to the Isle of Wight, and it is quite a bit cheaper than the other ferry. Unfortunately, the interior of the hovercraft left a lot to be desired and made the National Express coach seem fairly luxurious in comparison. It also reeked of diesel.

Still, floating on a cushion of air across the sea at high speed is pretty cool.

The hovercraft lands in the town of Ryde. It is the largest town on the Isle of Wight, with a population of around 30,000. The hovercraft, being the technological marvel that it is, sets you down on dry land and bypasses the adjacent pier (in the background above). It’s the 4th longest pier in the UK and also one of the oldest, which has earned it listed status. It’s from this pier that you can take the “train” (yes, it’s actually part of the National Rail network) 8 1/2 miles around the eastern part of the island:

You may recognize the carriages, they are retired 1938 London Undground stock. They run two at a time on a single track to 8 stops.

Disembarking in Sandown, many shops seemed to be closed. There are lots of tourist gift places, shoe stores, and restaurants that I wouldn’t want to eat at. There was also this person trying to sell their dogs via a sign on the door of a shop:

After an unfortunate experience with the B&B we booked, we ended up at the decidedly non-luxurious but clean Sandringham Hotel. It faces the beach and the staff members have to wear nautical uniforms while serving breakfast, so it was nearly perfect (despite the avocado green bathtub with a spot of duct tape and the lack of a shower). There was a cover band playing to a very small crowd at the bar, the whole scene pulled from a yet-to-be-made Christopher Guest film.

The best thing to do on the Isle of Wight, now that the Wax Works/ Brading Experience has closed, is to either visit English Heritage sites, go hiking or watch documentaries in your hotel room about thatched cottages. We did all of these things. Osborne House, Queen Victoria and Prince Albert’s gorgeous island home, was spectacular:

I was particularly impressed with the wrapped statues, as I have started to collect photos of them. If you are interested in going to Osborne House in the winter, make reservations ahead of time. You must be a guided tour and they are limited to groups of 20. The upstairs was closed for repairs. There are more of my photos of the house here on Flickr.

Then it was on to Carisbrooke Castle in Carisbrooke, near Newport. It was restored in the Victorian era and is also an English Heritage site. Located at the top of a hill, the castle offers spectacular views of the surrounding towns and countryside.

One of the things it is best known for is the well that is powered by a donkey walking on a wheel. There are a few demonstrations each day. Here is the obligatory photo:

From there it was off to the west of the Isle for a hike across Tennyson Down, where the poet used to walk on a daily basis. There is a large monument to Lord Tennyson at the highest point on the walk, which is particularly impressive late in the day. This photo could be straight out of a Christian inspirational calendar:

We continued walking to the end of the Island and saw the famous Needles:

On the way out of the park after seeing the Needles, I couldn’t resist this amazing front yard display. Note the many messages to visitors:

The following day was less cooperative, as far as the weather was concerned. After a brief stop at the Brading Roman Villa it was back to the mainland. Portsmouth, which has accurately but not very creatively chosen to call itself “The Waterfront City” (as if it were the only one) has attempted to re-brand itself with a massive seafront regeneration project known as Gunwharf Quays:

That tower in the background is a tower that you can’t miss, mostly because it is so ugly. One of many oval-shaped residential towers with blue glass to sprout up around the world in recent years, it is known as “No. 1 Gunwharf Quays” and was designed by architects Scott Brownrigg to resemble a funnel (I can only imagine the crit you would get in architecture school with an idea that brilliant). The other tall thing in the regeneration area is the Spinnaker, a ridiculous folly that attempts to compete with Dubai (at half-scale) and has had a broken lift since its opening nearly five years ago:

As if going the Cadbury (Kraft?) and Marks and Spencer Outlet shops wasn’t exciting enough, you can sip your Costa cappuccino while admiring this jauntily-painted World War II torpedo:

While Gunwharf Quays has been branded as a total success, it is hard to see what it is doing for the rest of the city. It’s not well connected to the city center for the pedestrian, and the massive underground car-park promotes the overall suburban feel. Most of the shops are interchangeable with what you would find at any other similar mall elsewhere in the world. I am sure it’s been a financial success for the developer, though I’m not sure 2009 was the best time to open a high-end residential tower in a struggling city. While the overall development has opened up the waterfront to the public (it was formerly a naval base) you never escape the feeling that you are in a shopping mall.

I couldn’t possibly say it better than this CABE case study: It is a collection of experiences that brings together various types of housing in a carefully considered, safe environment…

As soon as you leave the front gate it’s back to reality:

Brian Sewell: I don’t care what Clement Greenberg thinks about Arshile Gorky

In an article for today’s London Evening Standard titled Mother’s Boy art reviewer Brian Sewell discusses the new show at the Tate Modern, Arshile Gorky: A Retrospective. In a review that reveals far more about Sewell’s artistic preferences than the contents of the show, he states that Gorky, who escaped the Aremenian genocide as a young man by fleeing to New York, “was neither well-taught in the technical sense nor exposed to long traditions and established stimuli that could convert him from provincial fumlber into metropolitan genius.”

Basically, if you weren’t part of the European aristocracy, why bother? Stating that Gorky was “aware of Picasso, presumably from illustrated magazines rather than direct experience” shows the height of Sewell’s ignorance, as European modern art was frequently shown in New York during the 1920s and 1930s. The Museum of Modern Art in New York was founded in 1929, and private galleries were regularly showing cubist work during this era. I have a hard time believing a young painter living in the city at that time would not have sought out a single Picasso painting by the mid 1930s.  By 1937 a major show of twenty years worth of his paintings was on view at Jacques Seligman & Co., and in 1939 MoMA mounted a large retrospective of his work.

Sewell also goes to great lengths to criticise Gorky’s work as being derivative, going as far as calling his earlier canvases ”dim-witted imitations.” I think the same could probably be said of the early work of many painters, and for a man his early twenties at the time I don’t think it’s unreasonable for his work to show the influence of the great painters of the day.

The review condescendingly goes on to say of his experience being promoted to mentor at the Grand Central School of Art “I suspect the school was less grand than its name suggests.” The school was an artists’ cooporative, and was run out of New York’s Grand Central Station for twenty years starting in 1924. Founded by John Singer Sargent (one of the finest portraitists of the early 20th century) and Daniel Chester French (sulptor of the Lincoln Memorial and designer of the Nobel Prize medal), students included as diverse a crowd as Norman Rockwell, Stuart Davis and Willem de Kooning.

Gorky is given credit for his drawings in the review, but it certainly gets under Mr. Sewell’s skin that he is regarded as a painter in any way. In fact, he blantently says Gorky did not know what he was doing and credits his fame to the “jabberwocky-driven critic Clement Greenberg.” Sewell’s antagonism towards Greenberg leads him to dismiss the importance of the influence Gorky had on the art world of the 1940s and 1950s (including de Kooning and Jackson Pollack), which alone in itself makes Gorky’s work worthy of a major retrospective.

In his 1964 essay “The Myth of Originality in Contemporary Art”  in the Art Journal, David Hare writes:  ”To my mind, Gorky became at the end of his life, far more original than the Abstract-Expressionists that followed him” and then goes on to say “Gorky’s was not as original as the work of Jackson Pollack, but much more interestingly so, since Gorky became original in the face of art history, which he loved.” This is key to understanding the importance of his work: he successfully negotiated his way out from under the weight of the baggage of pre-war art and created something that was almost unbelievably new. It is unfortunate that it took him a long time to do this, and that he departed from the world at the age of 44.

Arshile Gorky’s late work is amazing in the way it dissolves surrealist imagery into beautifully composed non-figurative gesture. I was transfixed by one of his finest works, “The Liver is the Cock’s Comb,” which I used to stare at on every visit to the Albright-Knox Art Museum in Buffalo where I grew up. I have no doubt you won’t regret that you “paid a tenner” (to use Mr. Sewell’s phrase) to see the show, I am very much looking forward to it myself.

The Liver is the Cock's Comb, by Arshile Gorky (1944); Albright-Knox Art Gallery, Buffalo NY

Housing Showdown: Donnybrook Quarter and Robin Hood Gardens

Donnybrook Quarter is a recent award-winning low-rise scheme in Bow, London (map) by Peter Barber Architects, seen by many as as the antidote to the modernist tower and built as mixed-tenure housing for a social landlord. Robin Hood Gardens is a well-known and oft-disparaged brutalist structure from the 1970s by Alison & Peter Smithson, stretched out over a huge site in two imposing concrete blocks. While the proposed demolition of Robin Hood Gardens has set off a controversy that became more about ideology that the merits of the building itself, how does it compare to a Stirling Prize shortlisted housing scheme of the past five years? I visited both East London sites this past weekend and took a look around.

Donnybrook Quarter, drawing by Peter Barber Architects

Robin Hood Gardens drawing by Kenny Baker, courtesy NY Times

While Donnybrook Quarter is often called “high density” (one example is in this award statement from the AIA) it’s interesting to note that Robin Hood Gardens is facing demolition for not being dense enough (compared to the proposed redevelopment), yet both projects have a very similar unit count per acre: 45 units per acre at Donnybrook (published figure) and approximately 50 units per acre at RHG (calculated density). The first thing one notices upon entering the Donnybrook Quarter site is its density, it may be low-rise but it definitely feels tightly packed:

Donnybrook Quarter central street

Front windows are on the pavement, and aside from some sparse planting strips there is no transition at the building facades, in contrast to many traditional terrace house typologies in England (though Victorian terraces are often built right at the street edge) or townhouses in US cities like New York where there is usualy a stoop or small front garden. This lack of transition in front of the houses means that people have done little to personalise them as the public zone starts at your front door. The private space provided on the small balconies  play into Barber’s frequent quoting of Walter Benjamin and his ideas about using building as a stage, but I would be surprised if they are ever actually animated by human activity as they are extremely small and exposed. The shops at the main street edge are a welcome feature and they help to give more personality to scheme as a whole through their signage and window displays.

Density at Robin Hood Gardens is created by concentrating the housing units in two residential blocks, which flank a large central green space to shelter it from the surrounding traffic. The site is essentially a large traffic island, with the Blackwall Tunnel approach on one side and a multi-lane road with buses on the other (Google Map). Open space was required in the program given to the the Smithsons, and their solution was a very effective way to achieve it while still maintaining a high enough unit count to meet the design brief. The original program also called for maximum sound levels of 50 DBA during the day and and 35 DBA at night, which resulted in a street edge that looks like this:

Robin Hood Gardens, Cotton Street elevation

Another element called for in the brief was parking, which is located in a “moat” behind the concrete sound wall and beneath the building:

Parking at Robin Hood Gardens

A solution that put the parking entirely under the buildings would have been preferable, as the current layout makes it difficult to approach the building from the sidewalk. Visitors need to walk to one end or the other to cross the sunken parking area and then walk around the blocks to reach the open space at the centre of the site. The central garden is enormous, and welcome considering the amount of traffic the surrounding area. A massive flock of birds took to the air as I approached the constructed hill at its centre- I can’t stress what an impression this makes when you walk into the garden from the south. The hill and trees planted on it create a third edge for the courtyard and make it feel secluded from the surrounding city. The site would be improved by incorporating more programmed space in the courtyard like a picnic area, better play areas, and allotment gardens for residents, as it doesn’t seem to be very heavily used at present.

Robin Hood Gardens open space

Looking back to Donnybrook Quarter, I was expecting to be blown away by its pristine whiteness based, as most of the published photos of the project seem to emphasize this contrast with the surrounding brick construction. In reality, after a four years of exposure to East London air quality and visits by neighbourhood taggers, a bit of the shine has worn off.

Donnybrook Quarter street view

Most of the paint has peeled off the steel balcony rails, and some of the render has been painted over and/or damaged, resulting in a uneven surface finish. When I saw this project published a few years ago, I questioned how a white render exterior finish would survive at street level in London. The answer? Not well. The colour is attributed to a desire for light to reach deep into tight corners in Ellis Woodman’s review of the project in Building Design, but I think it’s a purely stylistic choice for Peter Barber, as it is a frequently recurring theme is his work and he speaks of the influence of Alvaro Siza in shaping his design sensibilities. While this colour scheme and material choice may work well on a Portuguese hillside, it is inappropriate for a high-traffic site in the middle of East London.

Many of the most frequent criticisms of Robin Hood Gardens involve issues of maintenance that are out of the realm of the architect’s responsibility, and the Tower Hamlets council has been accused of avoiding work on the building to encourage residents to move out. Upon visiting the site, the building itself doesn’t look  bad considering the obvious lack of care it has received over the years. While some people may not appreciate concrete, it is certainly more durable and retains most of its original appearance more than thirty years on. Many of the painted bits obviously need care, and the interior public spaces have always been problematic (see Nicolai Ossolouf’s piece in the NY Times for more on this) but overall the complex has not aged poorly, all things being considered. It is easy for people to point at trash or graffiti and claim that it was somehow the fault of the architecture, but this is usually symptomatic of social and economic issues not design choices. In fact, it even happens at celebrated and progressive new mixed-tenure developments:

Trash-filled stairway at Donnybrook Quarter

Both projects approach housing design from a very different standpoint, both theoretically and materially. With proper maintenance and upgrades, Robin Hood Gardens could be made viable for generations to come. The density could be increased without compromising the original design (or tearing it down completely) through careful architectural intervention. Donnybrook Quarter has some obvious shortcomings, but overall it is a welcome change from most of the other housing that has gone up in the area. Peter Barber has created a new typology that still needs some fine-tuning, but is otherwise a smart update to the traditional terrace house.  I think each of these projects could have stood to incorporate pieces of the other within their designs- a smaller garden with more intimate spaces would have helped at Robin Hood Gardens and more durable materials and some permeable landscaping would have been nice to see at Donnybrook.

Full photo set of both projects on Flickr

The Euston Arch, Po-Pomo and Japan

A recent discussion on Twitter led me to think about the practice of reconstructing buildings that have been demolished. There are currently discussions about rebuilding the Euston Arch in London. It once stood as a gateway to the North, as Euston Station was the terminus of the London and Birmingham Railway, and it mirrored a similar arch at the other end of the line in Birmingham. Demolished when the station was rebuilt in the 1960s, it has been a sore issue amongst architectural preservationists for the past fifty years. Many people actively tried to save the Arch at the time, but were unsuccessful as British Rail was determined to move forward with plans for the new station and relocating the Arch would have cost them far more than demolishing it.

Interest in rebuilding the arch gained favour after Dan Cruickshank, an architectural historian, professor and BBC television presenter, discovered its remains in the River Lea in the East End. Cruickshank founded the Euston Arch Trust. This organisation’s goal is to rebuild the arch at Euston, most likely as part of the planned station redevelopment. There is a heavily produced video (with music) of the proposed redevelopment of the area by Sydney and London Properties here.

My initial reaction to the idea of rebuilding the arch was that it was an absurd waste of resources- let the past be the past, accept that it is gone and move on.  In the aforementioned Twitter discussion, Will Wiles went even further- he’s proposed a counter-campaign to re-demolish the arch, complete with T-shirts.

Rebuilding the arch  Post-Postmodernism to me: a piece of non-ironic yet nostalgic pastiche that takes liberties while framing itself in an air of authenticity. It is symptomatic of what Raoul Eshelman defines as performatism in his essay “Performatism, or the End of Postmodernism“. While Eshelman’s sole architectural example is Sir Norman Foster’s Reichstag in Berlin, I believe a reconstructed Euston Arch would fit the bill precisely because it is being promoted as “real” – and not merely a historicist recreation of the past. By dredging the river and incorporating actual stones, the rebuilt arch results in exactly the type of  ”perfomative, authorial framing” Eshelman refers to in his essay. I am not particularly a fan of Post-Postmodernism, so this certainly does not swing me over to the side of the rebuilders.

On the other hand, there is a precedent for recreating buildings that I have always found fascinating. The Ise Shrine in Japan is rebuilt every twenty years, in exactly the same manner and materials each time. The new shrine is built adjacent to the old one and then the old one is dismantled when the new one is complete. The present shrine is the 61st iteration, and a new one is due in 2013. By rebuilding, the shrine is always new yet is ancient at the same time.

Main shrine building - Naiku, from Wikipedia

Perhaps the Euston Arch is operating on a slightly different cycle, and instead of the overlap experienced at Ise, there is a lag where the Arch disappears only to make a triumphant return after a lengthy absence?  The Euston Arch could always be new upon its appearance, and watching it be demolished would be part of its rebirth.

On a final note, I am somewhat sympathetic to rebuilding because I admittedly enjoy a number of buildings that have been built out of their proper historic context. This Frank Lloyd Wright-designed boathouse in Buffalo, New York was built long after FLW passed away. Designed for a site in Wisconsin in 1905, it was built in Buffalo in 2007 (and it’s not the only Wright reconstruction in the area) and my wedding reception was held here last summer. Architects don’t build their buildings, architects produce drawings for someone else to use to construct a building. This mediated relationship to the final product means that you don’t really need to see the artist’s hand in the work- rebuilding a building, if done properly, is not much different than building the original and is far different from recreating a painting or sculpture which is dependant on the presence of the artist. Perhaps if Preston’s gorgeous brutalist bus station is demolished, we could rebuild it at Euston as well?

The FL Wright-designed boathouse in Buffalo