At the Pacific Design Center Gallery in Los Angeles, artists have created an imaginary enormo-conurbation into which humanity’s billions have been herded, surrendering what’s left of the planet to wilderness. Views of Planet City, the resulting temporary exhibition, is all Blade Runner-esque, purple-neon cityscapes in miniature, VR games and costumes melding world cultures into one.
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On this week’s Spectator Out Loud: Ian Thomson reflects on his childhood home following the death of his sister (1:20); Andrew Watts argues that the public see MPs as accountable for everything though they’re responsible for little (7:40); Sam Leith reveals the surprising problem of poetical copyright (13:47); Helen Barrett reviews Will Noble’s book Croydonopolis and explores the
‘So f-ing Croydon,’ was the worst insult David Bowie could think of to describe a person or thing that revolted him. ‘Less of a place, more of a punchline,’ was a recent swipe by Sue Perkins, the Croydon-born comedian who grew up at the tail end of the town’s golden era of rampant employment, ambitious
On Frank Zappa’s first date with Gail Sloatman, he blew his nose on her skirt. As acts of territory-marking go, it’s hard to imagine something more equivocal. But Gail, a 20-year-old secretary at Los Angeles’s Whisky a Go Go club, must have read it as love. She built her life around the musician, composer and
Gavin Stamp was a prolific and unusually level-headed architectural writer and historian. Less emotional than Ian Nairn, pithier and more immediate than Nikolaus Pevsner (he knew both men), Stamp wrote definitive books on grand and humble subjects. These ranged from his hero Edwin Lutyens, to brutalism, to Sir Giles Gilbert Scott’s scarlet telephone boxes of
California Forever is an American 21st-century utopian vision, a new city to be built on 60,000 acres of dusty farmland 50 miles outside San Francisco. This latest plan for ‘safe, walkable neighbourhoods’, unveiled late last year and yet to be approved, is financed by Flannery Associates, a consortium of tech venture capitalists led by a
In Building Soul, Thomas Heatherwick’s recent Radio 4 series, architects are villains. According to the puckish designer of Google’s King’s Cross campus, the profession is in thrall to a ‘cult’ of modernism, intent on forcing us to live in houses that make us ill and work in offices that make us depressed. Is property ownership
London’s City Hall stands empty. The bulbous, Foster + Partners-designed ‘glass testicle’ — in Ken Livingstone’s words — occupies one of the best sites in the capital: Thames-side, squaring off to the Tower of London, and overlooking Tower Bridge. But in December, its occupiers — the Mayor, the London Assembly and the Greater London Authority
Nothing divides the British like modernist architecture. Traditionalists are suspicious of its utopian ambitions and dismiss it as ugly; proponents romanticise it, yearn for the civic principles that built it and gloss over its failings; the young see period charm in flat roofs and straight lines, while the old associate them with deprivation; the wealthy
To many people Tony Wilson was a bigmouth Mancunian, brash music impresario and jobbing television presenter. But to the generation that came of age in the late 20th century he was a guide to the future. We have him to thank for ushering in the strangest, most revelatory pop music to the cultural mainstream. Wilson
Manchester, in the words of the artist Linder Sterling, is a ‘tiny little world’. Nearly three million people live in its sprawl, but its centre is compact. Like-minded Mancunians have always found one another easily. Cultural life is febrile, which partly explains how, in the pre-digital late-20th century, England’s third city produced such startling bands:
