Scary skylines of the future

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Ministries of George Orwell’s Oceania, from 1984. (WAI Architecture Think Tank)

The March edition of my blog for Traditional Building, “Modern Architecture and the Administrative State,” arose from some chilling passages quoted in an essay from the Claremont Review of Books called “How the Ruling Class Rules,” which was a review of Paul Moreno’s The Bureaucrat Kings: The Origins and Underpinnings of America’s Bureaucratic State. Theorists of government from the past were prescient about the future, invoking horrors that can easily be translated into modern architecture. Facebook, anyone? Here is a quote from my TB blog:

Tying together some passages Moreno has selected builds up to an eerie parallel between the direction of bureaucracy and the direction of architecture. Hegel promoted the “organized intelligence” of the “rational state.” Dewey called it the “social intelligence.” Kafka warned that “every revolution evaporates and leaves behind only the slime of a new bureaucracy.” Marx called bureaucracy the “circle from which one cannot escape.” Weber foresaw in rational control the “polar night of icy darkness” and the “iron cage,” culminating in “the shell of that future bondage” and “the disenchantment of the world.”

The shell of that future bondage sure sounds like the glass and steel exoskeleton of corporate modern architecture.

It seems, however, that today’s dystopian architects prefer a rectangular motif more than the pyramidal motif that caused Orwell’s hair to stand on end. Film directors have been good seeing bad things in the future, too, as my TB post also suggests.

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Headquarters of the National Security Agency at Fort Meade, outside D.C. (pressfrom.com)

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L’Apogée, here we come!

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View of Biltmore Hotel in the 1950s, before L’Apogee. For 11 years I lived five floors up behind the windows facing east in the Smith Building, just left of City Hall. (goprovidence.com)

This afternoon’s meeting of the Downtown Design Review Committee was cut short when one applicant, the developer of a second ugly building on Canal Street next to the first one now under construction, begged off till next time. In its place came the really big news:

L’Apogée will be reopening! Under another name, perhaps, but who cares!

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Outdoor elevator at Biltmore. (latitudecrossing.com)

Mike Abbott and Glenn Gardiner of Northeast (formerly Newport) Collaborative Architects let the cat out of the bag in a presentation that focused on the need to build an 18th-floor vestibule for the glass elevator, which now only stops at the 17th floor. They almost mentioned the new restaurant as an aside. And it is probable that few people in the room, on the committee or in the small audience, had ever heard of, let alone dined at, L’Apogée.

Soon to return to the Biltmore hotel, then, is the top-of-the-town restaurant that graced what was then the top (and almost the only) downtown hotel in the capital city of the state of Rhode Island and Providence Plantations. Opening in the mid-‘9180s, it closed several years after my 1984 arrival.

L’Apogée was on the 17th and 18th floors of the hotel. The adventurous could reach the restaurant via an elevator in a glass tube, erected during a mid-’80s restoration in the crook of the hotel’s two wings. Or those with acrophobia could just take one of the main bank of indoor elevators. The restaurant, which was in the north wing, shared two floors with the hotel’s grand double-height ballroom. On the 17th floor of L’Apogée was the main dining area and, up a set of stairs on the 18th, was the restaurant bar.

Shhh, but my first Providence romance was sparked at that bar, so I have fond memories that transcend its delightful views. I was living in the hotel for two weeks at the paper’s expense while apartment-hunting. (Sorry, but except for the fact that she was a delightful view, no more gossip!) Before that, I stayed at the Biltmore twice for interviews before getting an offer. Yes, the Journal was a friendly place in those days. Indeed, it owned the hotel.

After it closed, I returned often to take photographs from its massive arched windows. The north wing had the best views of the construction taking place during the river-relocation project, and often I would put those photos atop my Thursday architectural column in the paper. Plus, any visitor from out of town could be sure of a city overview from this perch.

But there was a real sadness to being up there, because the ghost of dear L’Apogée was always just behind my shoulder as I snapped shots from the empty, forlorn former restaurant space. For years, as the city revived itself from its long slumber, I wished and wished that a new top-o’-the-world restaurant would be the cherry on top of its revitalization.

Divine Providence! The Renaissance City! But it was not to be.

We did get a rooftop restaurant elsewhere downtown at the Providence G – which is great – but it could never hope to fill the shoes of L’Apogée.

Now we will finally get it back, even if under a different name. The Biltmore has a new owner, Graduate Hotels, which intends to call it the Graduate Providence. Five nearby univesities have students whose parents will want to stay there. I hope they will abundantly, but I’ll still call it the Biltmore.

And why not? The owners say they will keep the glowing red B-I-L-T-M-O-R-E sign. Bless them for that!

The renovation is supposed to be finished in the spring of next year. Will the new restaurant open then? I don’t know. But I do know that I will be among the first to reserve a table. I’m sure a lot of people are looking forward to this eagerly, but none more eagerly than your hungry correspondent.

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View of State House to the north, over Waterplace Park, from 18th floor of Biltmore. (Trip Advisor)

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While we’re still on Corbu …

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Exaggerated visualization of how King Minos’s palace might have looked. (John Good)

Came across a passage in James Crawford’s fascinating Fallen Glory, a collection of mini-histories of famous buildings, many ancient, and the societies that grew up around them and their implications for societies today. The chapter “Modernism’s Labyrinth” follows archaeological digs in Knossos, the ancient Minoan city on the Mediterranean island of Crete.

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Theseus slays Minotaur, Jardin des Tuilleries, Paris. (Wikipedia)

It seems that Arthur Evans found what he thought was the lair of the mythical Minotaur, part man and part bull (Ovid), that dwelt in the Labyrinth designed for King Minos by Daedalus and son Icarus (before his wax-winged accident) until it was slain by Theseus.

Recent posts have pushed the idea of rebuilding ancient ruins, but the following passage about Minos’s palace frames an argument against it. Evans used a recent material, reinforced concrete, to build what he considered to be a plausible “reconstitution” of the palace, or at least parts of it. He admitted that “to the casual visitor who first approaches the site … the attempt may well at times seem overbold, and the lover of picturesque ruins may receive a shock.”

Here Le Corbusier makes an appearance, which needs no comment. Just read it and let it rattle around inside your skull. Crawford writes:

The result was stark and – to many observers – quite unsettling. Concrete is a utilitarian building material: severe, bold and unashamedly functionalist. It would become a favourite of Le Corbusier, the Swiss-French architect and self-styled doyen of modernism who came to prominence in the 1920s with a new world view that imagined cities and houses as “machines for living.” It is a great irony that Evans appeared to have “unearthed” this vision for the future in the very beginnings of western European architecture. If you believed the “reconstitutions” of Knossos, then Le Corbusier wasn’t breaking new ground, merely going back to first principles. The English historian R.G. Collingwood was particularly scathing in his assessment: “The first impression on the mind of a visitor is that Knossian architecture consists of garages and public lavatories.” For Collingwood there was “no taste, no elegance, no sense of proportion,” just a building fit for “comfort and convenience – a trade, not a fine art.” It was a review that would have made Le Corbusier proud.

Proud, to be sure, since Collingwood seems to credit Corbu with some degree of concern not just for the convenience but the comfort of the users of his buildings. For that matter, Evans’s reconstruction, however “functional,” far outstrips Corbu’s work in that minor matter known as beauty. Concrete can be fashioned so as to produce beauty, but the architect has to desire it. (A Google search of “concrete beauty” offers almost no evidence, however.)

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Partial reconstruction of ruins of King Minos’s palace, in Crete. (Bernard Gagnon)

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This joke’s on you, Corbu!

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Of course the Corbusier who designed this church was not “Le” Corbusier. Too bad for the rest of us! Would that the pictured church were Corbu’s chapel at Ronchamp, and would that it were now as forgotten as the church above. No criticism meant of Indianapolis’s Tabernacle Presbyterian Church, of course, only that its beauty would be locally recognized, and might not strike anyone as a good example of how they used to build churches. Not to mention how to draw them – architectural draftsmanship now aims more to conceal than to reveal a designer’s intentions.

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Tabernacle Pres. today. (TPC Facebook)

The drawing is from the January 1932 issue of Pencil Points, which became Progressive Architecture in 1940. In the pages of PP the battle of styles between classicism and modernism played out toward its dismal outcome, with the defenders of tradition making their objections at an increasingly higher pitch – until … silence.

Most of the issues of Pencil Points, which was founded in 1920 as a magazine for and about architectural draftsmen and their work, can be found at the USModernist.org. This link is to the January issue but you can click on other issues by visiting where all of the surviving issues have their separate links. The editors of USModernist.org are always on the lookout for people who find old issues up in their attics.

Running through its PDF pages, I was on the lookout for any review of the exhibition of mostly European modern architects being exhibited at the Museum of Modern Art under curation of Henry-Russell Hitchcock and Philip Johnson. I don’t know quite how, in scrolling through the January 1932 pages, my eye was caught by the name beneath the drawing of the Tabernacle Presbyterian, designed by J.W.C. Corbusier, as excellently sketched by architectural draftsman F.H. Stahl. Or why, really, since the MoMA exhibit did not open until the next month.

Since it is so easy to copy things from Pencil Points into my blog, I don’t know how I’ll manage this trove, either. In my pro-tradition, anti-modernist discourse, if Corbusier did not exist he might need to be invented. Pencil Points will certainly be useful.

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We dodged the HQ2 bullet

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R.I.’s HQ2 proposal saw the Superman Building strap on glass hip-waders. (

Providence would have been slaughtered if Amazon had decided to build its second headquarters – HQ2 – in Rhode Island and its capital city. So for the loss of 50,000 well-paid jobs and sundry other benefits, we should not blame Amazon but thank it and instead blame Rhode Island’s proposal, which cried out for rejection. Now that Governor Raimondo has released Rhode Island’s secret plan to snag the online retail behemoth, we can see how predictable and uninteresting it had to have been to Amazon’s leadership.

The Rhode Island Commerce Corporation, which was responsible for assembling the proposal, would have offered economic subsidies to make up for Rhode Island’s toxic business conditions, employee training to make up for Rhode Island’s mediocre K-12 education system, and transportation improvements to make up for Rhode Island’s crumbling infrastructure and backward public transit system.

Amazon would have been out of its mind to have fallen for this.

R.I. releases details of pitch for Amazon ‘HQ2’” is the Providence Journal’s story on this by Patrick Anderson. It has enough details to curl your toenails. Go to the CommerceRI website for the gory details, which will make your hair stand on end. The subsidy package is called “Nimble Government and Responsi-Bold Incentives.” Whoever came up with that should be instantly sacked. As for the quality of life in Rhode Island and its capital city, nobody can deny its strengths. Yet even here officials felt they had to gild the lily: “News Flash! World’s Tiniest State Pops Out Coolest City.” Well, what about Andorra, Liechtenstein, Luxembourg, Malta, Monaco, San Marino and, if you want to call it a nation, Vatican City? Entire countries tinier than Li’l Rhody.

Read the document itself, entitled “The Lively Experiment,” only partly redacted in its financial section. Leaving aside quality of life here, there is nothing about the proposal that separates it from offerings from the least mesmerizing of cities and states applying to host HQ2.  Rhode Island failed to make the cut because Amazon doubted its ability to absorb 50,000 new jobs. At least that’s what they told us.

Rhode Island should have insisted (diplomatically, of course) that Amazon must fit into Rhode Island, not vice versa. Amazon must build headquarters that would strengthen Rhode Island’s brand, not weaken it. The state should have assumed Amazon was sophisticated enough to value a proposal that forced it out of its HQ2 design box. Rhode Island should have said it would not put up with architecture that treats people like cogs in a machine. And if Amazon is in fact not sophisticated enough to grasp the boldness of such a pitch, so be it.

We must keep in mind that it was not Amazon but the state that suggested that the Superman Building strap on a pair of glass hip-waders. Look at the other images from the proposal below. They are a death wish. We’re lucky Amazon is looking elsewhere.

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Carpionato’s latest 195 plan

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A few days ago I received, at my request, the latest iteration of plans for a large development on the east embankment of the Providence River by the Carpionato Group. The company had made a presentation of its plan to the Jewelry District Association back in January. I discussed that plan here, and its original proposal from 2013 here. It is apparently now called “The Row at College Hill,” even though it’s really in Fox Point.

Carpionato’s president, Kelly Coates, asked me in January to withhold from this blog images of his presentation to the JDA, which I did, expecting to run those illustrations after the firm presented them to the I-195 Redevelopment District Commission. But I waited and waited, and finally asked what had happened. So then they sent the images. What I got the other day was a somewhat different set of plans from those presented in January.

The project remains extraordinary in terms of comparison with other projects arising in the 195 district. The rest are all modernist, intrinsically alienating to most people, whereas the Carpionato designs for the east embankment are, in the main, highly traditional and likely to be popular with most users. But the latest version exhibits a watering down – cost cutting, no doubt – from the January plan, which had evolved considerably from the original design proposed in 2013. Its roofs are flatter even than they’d become by January, and it seems to have grown in square footage, necessitating a blockier massing of buildings, though little or no evident increase in their height. Square footage has grown from about 421,500 in January to 480,000 today. Some subtle changes in detailing are also evident, although you can’t be sure that’s not because a different illustrator was used (unidentified in any of the sets of documents emailed to me).

Atop this post is the latest rendering, which is shown again below as part of a progression that stretches from 2013 to January to now. After that is a pair of axonometric sketches from 2013 to now. From these you can judge the extent of the changes so far. While still far superior to every other plan submitted to and approved by the I-195 commission, the recent direction of design evolution is regrettable – so far, in a relatively minor way.

As always, God (or the devil) is in the details.

(The Jewelry District Association will host an update this project and others in the Route 195 corridor (including the results of the JDA survey on the Fane tower) in a meeting at 5 p.m. on Tuesday, April 10, at South Street Landing. The Carpionato project and two new proposals I’ve never heard of before – Spenser Providence and Post Road Residential, whatever they are – will come before the I-195 commission a day later, at its meeting at 5 p.m. on Wednesday, April 11, at its headquarters on Iron Horse Way.)

Again, the sets of images below proceed from the original to the latest:

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Axonometric sketches from the original to the latest available (in January):

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Catesby Leigh on Penn Sta.

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Rendering of Pennsylvania Station rebuilt to modern specifications. (Jeff Stikeman/NCAS)

The National Civic Art Society, in Washington, has named the critic Catesby Leigh, one of its co-founders and early board chairmen, as its research fellow for 2018-2019. This salutary honor will enable Leigh to continue studying the phenomenon of monuments, and also enable his involvement in the latest project at NCAS (of which I am a member). I convey my congratulations!

One monument America lost in 1962 was Pennsylvania Station, designed by Charles Follen McKim of the firm McKim, Mead & White, and completed in 1910. It was razed in an act of cultural barbarism described at the time by the late critic Vincent Scully’s lament that “one entered the city like a god,” but “now one scuttles in like a rat.”

Of course train stations are supremely utilitarian structures but Penn Station transcended its utility, emerging as nobility. That’s no longer allowed these days, but the NCAS has embraced a proposal by Brooklyn architect Richard Cameron to rebuild Penn Station as originally designed. The project would naturally include changes to suit the needs of today, as if anyone has to be assured of that. And yes, some do require, or pretend to require, such assurances. They are called modernists.

Leigh wrote a memorable, indeed, a beautiful essay on the option to rebuild, “Penn Station, Reborn?,” published at delicious length in the Summer 2016 edition of the Manhattan Institute’s quarterly, City Journal. Leigh deftly parses the interlocking difficulties of the plan and how it can solve the dire transportation infrastructure problems facing the New York region today. He has done so in such a manner as to make the seemingly impossible sound perfectly logical – and even affordable. Leigh writes:

[T]he old Penn Station was not architecture “of its time” but architecture for all time. Cameron puts the cost of rebuilding it at $2.5 billion. Demolition of 2 Penn Plaza as well as [Madison Square] Garden could move the price tag up to $3 billion. But thanks to Hudson Yards and the High Line, property values in this neighborhood have risen dramatically. Even under existing zoning, the station’s reconstruction would yield millions of square feet of transferable air rights that would make a big dent in that price tag.

More than affordable, after finishing Leigh’s essay, readers come away with an almost spiritual assurance that rebuilding Pennsylvania Station can help revive the nation, pulling us together again – as a train station ought to do.

The result would be a stupendous public resort like Milan’s Galleria Vittorio Emanuele II, with a major transportation component built in.

“One entered the city like a god.” Yes, and we can do so again.

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Rendering of the Grand Waiting Room of a proposed rebuilt Penn Station. (Jeff Stikeman/NCAS)

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Krier on designer hypocrisy

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Old town of Luxembourg City, with its modern city center on horizon. (Spectator)

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Above, house where Leon Krier grew up in Luxembourg; below, building that replaced it.

Léon Krier, the architectural theorist and master planner of Prince Charles’s new town of Poundbury and of Guatemala’s new town of Cayala, commented on my recent blog post “Före och efter lådmodernism” (“Before and after box modernism”). Krier refers to Arkitekturupproret, a website involved in Sweden’s resistance to modern architecture. (The site’s title translates into “Architecture Uprising”; hit the site’s “translate” button if you read English.

Then, after discussing the primary differences among hypocrisy types, Krier laments the destruction of his home city of Luxembourg, and the appalling aesthetic blindness of its mayor. Referring to the twin before and after photos of Stockholm in my post, which originated at the Swedish website and displayed the brutality of the difference between traditional and modernist urbanism, Krier writes:

This kind of lament has been published for most cities and towns in the world. Arkitekturupproret demonstrates the growing upheaval of the in-born aesthetic sense and judgment of humans against its desensitisation through modernist brainwashing, spread via education.

Hypocrisy in matters of ethics is fundamental in maintaining good manners and peace in the routine relations and economy between individuals, families, nations, and societies in general. Hypocrisy in matters of aesthetics, however, has led to the worldwide destruction of aesthetic culture in architecture, urbanism and the fine arts since World War II.

This novel form of hypocrisy does not, in fact, alter personal judgment but the individual’s expression of it. That is why you hear educated people say, ”I don’t like that prize-winning building” or “that contemporary art object, but then I am no expert.” As if you had to be an expert to know what woman to love or what landscape to like!

The peak of perversion in the field was reached when Lydie Polver, the mayor of Luxembourg, introduced the four-volume lamento on the destruction of my once beautiful hometown, stating that the before/after illustrations demonstrated that Luxembourg had gained in beauty by its modern(ist) redevelopments.

Following his reply to my post, Krier sent a couple of photographs of recent developments in Cayala, the new traditional town outside of Guatemala City that has turned out to be very popular. But its popularity has generated further development, not always entirely positive. He writes:

In Cayala, construction has started for another 30 palacitos in the Lirios quarter. The very success of the project unfortunately drives the numbers of square footage and floors beyond my vernacular comfort limit. Only great classical design can now manage to save the overloaded ship. The 3 to 5 story walkable height limit is for me fundamental for building “The Good City.” It is a constitutional matter. Once that limit is violated, greed and hubris take over and become the master of a fatal (“urbicidal”) game.
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Here is a website with more articles by and about Leon Krier.
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Below are shots of Cayala sent by Krier. In the first shot, Krier and Hector Leal, head of the town’s lead developer, Grupo Cayala, look toward Cayala. Below is a closer view of the center of Cayala. Architects Pedro Godoy and Maria Sanchez (who took the first shot), who are natives of Guatemala and whose firm, Estudio Urbano, has led its design, are graduates of the School of Architecture at the University of Notre Dame. The final shot of the Paseo Cayala, with Guatemala City beyond, is from the UK Guardian.
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Nailing art at the Hammer

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Telephone poles and other objets d’art at the Hammer Museum, in Los Angeles. (Hammer)

Actors Will Ferrell and Joel McHale have helped to produce a hilarious six-minute advertising spot for the Hammer Museum, at UCLA, in which they pretend to be baffled by works of art at the museum’s latest exhibit, “Stories of Almost Everyone.” Whether the film, “Baffled by Conceptual Art?” and its humor are a fraud depends on whether Ferrell and McHale “get it” or not. Are they dupes of the museum staff and the 30 artists in the exhibit? Or are they in on the joke?

If so, they, the artists and the museum staff are equally the dupes of their own convoluted pretense to profundity. They all look down their noses at museum visitors who express bafflement, the sort whom Ferrell and McHale portray in the film. That is, the rubes whose foreheads wrinkle when they see a purple pillow that’s only been slept on by acrobats (Ferrell: “Yeah. This is really good.”); telephone poles lying on the floor (McHale: “That’s an artist saying, ‘I got 25 people to carry telephone poles up stairs.’ That gives me a strange joy”); a long yellow rectangular box leaning up against the gallery wall whose art consists of whatever you may imagine it contains; a mess of sneakers that took about a day to lay out on a patch of floor; a pair of socks randomly placed, about which you are supposed to wonder whether the night guard could resist changing their placement without telling anyone; the museum’s mail piled in a corner of the gallery daily at 4:20 p.m. for the length of the exhibit, to which Ferrell responds, “Here’s my concern” … what if someone sends fresh oysters; and other stuff deemed art by the museum.

“I don’t know if this is art,” McHale says at the end, adding, “It’s definitely art. … I think.”

Whether Ferrell and McHale are actually co-conspirators with the museum staff in the making of this film, with its mockery of normal attitudes about what art is, it is actually the visitors they portray whose take on the art – that this stuff is not art – reflects the deeper understanding of art. The art in this gallery should be surrounded by air quotes.

I’ve always believed that if I run over my bicycle with my car and lean the bent-up remains against a gallery wall, it is not art. It does not have a value in the range of five or six figures. It does not deserve anyone’s respect.

I still stand by that belief, even if the “artists” at the Hammer Museum buy into this fraud. Whether they realize it or not, or whether they merely think they have latched onto a “good thing,” they are part of an intellectual trend of long standing that seeks to undermine the stability of language and thus our confidence that anything is really what we think it is in our society. It is in the truest sense subversive, and not really all that funny.

Call it postmodernism, structuralism, constructivism, deconstructivism or whatever, art and architecture are the only fields in which the wacky trend has supplanted common sense within the establishment. That’s okay for art, since it’s so easy for most people to disparage and disengage. Architecture is one of the practical arts, however, and while it is easy to disparage, it is impossible to disengage.

Let’s see Will Ferrell and Joel McHale do an ad on modern architecture!

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Före och efter lådmodernism

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The two photos above and below show Stockholm decades ago and today. (Arkitekturupproret)

Stockholm före och efter lådmodernism” – “Stockholm before and after modernism” – displays the deadly effect on the urban fabric of the Klara district of Sweden’s capital city after decades of urban renewal and modern architecture. Except for the lonely church, buildings that lined the finely grained quarter’s streets in the photo above have been ripped out and replaced by clunky architecture out of scale with the humanity that was naturally born and once typical of every city and town.

Now the lower picture characterizes all too much of nearly every city and town throughout the world. Neighborhoods that have avoided this fate are called historic districts. These are just normal parts of cities erected before World War II. They have been given special protection from the bulldozers of modernity, but the protections came too late to spare huge swaths of many cities, not to mention their suburbs, which never had a chance.

By now we’ve become all too accustomed to the suffering that has been inflicted. Most people barely notice it any more, just as a prisoner eventually gets used to his chains. But he knows he is bound, not free, and more often than not it shrinks his spirit. A lot of humanity’s ills can be attributed in some degree to modernist architecture and planning – not just the ugliness and sterility that replaced beauty and charm in our surroundings, but our very humanity itself – our ability, our will, to address the problems, big and small, of life and of society.

The photos, from the Facebook page of the website Arkitekturupproret, were sent to me by Audun Engh, of the International Network for Traditional Building, Architecture and Urbanism. INTBAU is a global version of the ICAA, the Institute of Classical Architecture & Art.

The before-and-after posting was the good work, speculates Engh, of Albert Mehr Persson, who is a key player in an “extremely successful” architectural rebellion against modernism under way in Sweden. Better late than never.

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