Immoral icons

The annual Stirling Prize celebrates British achievement in architecture. But the winning buildings

What happens to an icon when the cameras leave? Does architecture actually "regenerate" an area, or is it a mere handmaiden to gentrification? These are the sort of questions that tend not to be asked of Stirling Prize-winning buildings. So, with this year's RIBA Stirling Prize, the winning entry was presented as the latest instalment of a long-running political/architectural vendetta rather than a place which will have its own particular use and history.

At least Prince Charles must be annoyed. Having made several high-profile attacks on Richard Rogers (now co-director of Rogers Stirk Harbour & Partners), he finally won a direct victory through the cancellation of RSHP's Chelsea Barracks Housing Development, achieved through persistent lobbying of the estate's Qatari developer, a fellow blue-blood. This spat has since provided light relief in an architectural press more concerned with the mass unemployment the profession has faced after the crash, providing a polarised fight between the forces of reaction (in the form of the monarchy) and progress (in the form of Lord Rogers, as much a New Labour apparatchik as a once outrageously talented architect). RSHP's two 2009 nominations were already seen as a political statement, even before their Hammersmith Maggie's Centre, a small building for the care of cancer patients, became the second of Rogers' prizewinners, three years after their architecturally dramatic, environmentally dubious Barajas Airport.

This is a reminder that the Stirling Prize can provide drama often lacking in the buttoned-up world of architecture. The Prize started in 1996, as a conscious attempt to provide an architectural equivalent to the Turner, Mercury or Booker Prizes, using competition to bring it to public consciousness. The early winners were 80s hangovers - a coldly high-tech university building by Stephen Hodder, a historical-reference-riffing music school by Michael Wilford - but this was before "regeneration", the utterly ubiquitous Blairite buzzword-cum-building policy that promised to remake the presumably "degenerated" cities.

So the Stirling Prize truly established itself in the public eye, with Channel 4 assistance, in the form of a run of prizewinners in former industrial or working class areas. Will Alsop's Peckham Library in 2000, Wilkinson Eyre's Gateshead Millennium Bridge and Magna Science Centre in Rotherham, Herzog & De Meuron's Laban Dance Centre in Deptford. With the addition of the 2004 winner, Foster & Partners' 30 St Mary Axe (ie, "the Gherkin"), these buildings defined the architectural production of Blairism at its height. This is the architecture of the "urban renaissance", of the "icon", of the "Bilbao effect", after Frank Gehry's Guggenheim Museum, saviour of the Basque city.

It generally takes place in an area once devoted to either working class housing or industry. It has an instantly recognisable, logo-like form. It is usually a building for leisure rather than work or housing, and it tends to be grinningly optimistic, achingly aspirational.

These buildings have often been critiqued from a functional perspective. The Leeds-based practice Bauman Lyons commissioned a study into a selection of Stirling Prize-winning buildings, finding out from their regular users and staff that they had some rather mundane defects: leaking roofs at Magna, overheating at the Peckham Library, cracking glass at the Laban Centre. This has been used by traditionalists to critique the largely modernist biases of the judges, although recent investigations into Prince Charles' planned village of Poundbury revealed similarly shabby structural failures, without even the excuse of experimentation - and at least no Stirling-winning building has ever suffered from a leaking false chimney.

These functional critiques do reveal something of the short-termism of iconic architecture, with a building as much as an album or bestseller being allotted a mere 15 minutes of fresh-faced fame before use reveals its limitations - but it ignores a more interesting story of the close fit between these buildings' forms and their functions, the way their politics interweaves with their bright colours and their gymnastic engineering.

We could start with the Peckham Library, winner in 2000. Peckham is one of those inner-London districts about which, perennially, "something must be done", and in this case that something was a library. Unlike many other prize-winning schemes there is no doubting the building's importance, and it is very well used, albeit with a notable lack of books. Unlike David Adjaye's Stirling-nominated Tower Hamlets "Idea Stores", managerial bullshit hasn't entirely replaced self-education, and it's comforting that an area would have a public facility as its most monumental and impressive building, with the word "LIBRARY" rising unmistakably from its green cladding and obligatory wonky pillars. Yet the ideology of regeneration presents such buildings as a fait accompli, single-handedly improving the lives of those in impoverished areas, while the result is more often the middle classes moving into them - such as the end of Peckham estate agents call "Bellenden Village".

The 2001 and 2002 winners, where industrial spaces were converted to leisure by architects Wilkinson Eyre, were a more obvious colonisation of urban space. The Magna Science Centre (note the amount of "Centres" here) was once the Steel, Peech and Tozer steelworks, and now offers up this technical process as an (admittedly astonishing) spectacle, as part of a redevelopment mostly consisting of a desolate business park and attendant call centres. The Gateshead Millennium Bridge, meanwhile, is the centrepiece of what is arguably the most typical example of the once-vaunted "Urban Renaissance".

Downriver of the Tyne Bridge, a section of Gateshead's riverside was turned over to two immediately "iconic" buildings - the biomorphic undulating glass shed of Foster's Sage Music Centre, and a Cyclopean Joseph Rank grain silo that was redesigned by Ellis Williams into the Baltic Centre For Contemporary Art. Coals may now be delivered to Newcastle, but culture has come to Gateshead. What is seldom mentioned is how this ensemble relates itself to the surrounding area. Springing up behind the Baltic is a cluster of poorly designed, poky "luxury" tower blocks with attendant car park (far less architecturally distinguished than Owen Luder's awesome "Get Carter car park" in central Gateshead, currently being demolished as an obstacle to regeneration). While this little cultural district is poorly connected to Gateshead's estates and terraces, it is directly linked to the executive flats of Newcastle Quayside - via the Millennium Bridge, an etiolated structure representing the ease of an allegedly leisured society, as opposed to the fiercely mechanical Tyne bridges upstream.

Stirling Prizewinners often have very direct effects on their surrounding areas, which seldom feature in the brochures and television programmes. The Laban Centre, Herzog & De Meuron's dance school in Deptford, South-East London, winner in 2003, is a fine combination of the alien and the familiar, its drizzly metallic skin curving around the Creek. Adjacent, under construction, are a series of blocks of flats of significantly inferior architectural quality (which are nevertheless "in keeping") who claim on their hoarding to be "inspired by dance", and proclaim their sponsorship by RBS.

In almost all of these examples, the prizewinning building has become the advance guard of gentrification, each "icon" bringing in its train a familiar menagerie of property developers' "stunning developments", aiming to change the area's demographics. Perhaps aware of this, the Stirling judges have lately been veering away from the spectacular and iconic in favour of something more upstanding. David Chipperfield's Marbach Museum of Modern Literature, the 2007 winner, was a stern stripped-classical temple redolent of Fascist-era Italian architecture, sombre enough to calm even Prince Charles' nerves.

Recipient in 2008 was Fielden Clegg Bradley's Accordia, a housing estate in Cambridge. This was explicitly couched as an anti-iconic statement in the context of the financial crash, amusingly, as its self-effacing soft-modernist courtyards hide an indubitably luxury development, for affluent folk who prefer not to flaunt their bling. There is an "affordable" bit, where far smaller houses abut a nuclear bunker, built for the site's former incarnation as an MOD base. The bunker tends not to feature in the photos.

The 2009 Stirling shortlist presented a New Labour menagerie - finance capital, private meddling in public services, shopping and surveillance. Aside from a winery by RSHP and a retro-modern art museum by Tony Fretton, there was an office block for Scottish Widows by Eric Parry, in London's financial district; a jolly PFI Health Centre by AHMM, commissioned by the private-public Local Improvement Finance Trust (LIFT); and BDP's masterplan for Liverpool One, a privately owned and patrolled "mall without walls". If these had won, the jury would have given their implicit imprimatur to the City of London, the Private Finance Initiative or urban Enclosures.

Yet the Maggie's Centres are the sort of buildings many architects might prefer to build - places with a genuinely humanitarian purpose, although most would hope never to visit one. The Centres are named after the late Maggie Keswick Jencks, a designer and writer who founded a charity to commission world-class architecture for informal cancer-care centres, attached to NHS Hospitals. Perhaps Rogers won not because of republicanism on the part of the Royal Institute of British Architects, but because his Maggie's Centre was the only building the judges could morally justify.

Owen Hatherley's "Militant Modernism" is published by Zero Books


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The Bloody Mary is dead: all hail the Bloody Caesar

This Canadian version of an old standard is a good substitute for dinner.

It is not anti-Catholic bias that makes me dislike the Bloody Mary, that lumpish combination of tomato juice and vodka named after a 16th-century English queen who, despite the immense reach of her royal powers, found burning Protestants alive the most effective display of majesty.

My prejudice is against its contents: the pulverised tomatoes that look like run-off from a Tudor torture chamber. A whole tomato is a source of joy and, occasionally, wonder (I remember learning that the Farsi for tomato is gojeh farangi, which translates literally as “foreign plum”) – and I am as fond of pizza as anyone. Most accessories to the Bloody Mary are fine with me: Worcestershire sauce, Tabasco, celery, black pepper, even sherry or oysters. But generally I share the curmudgeon Bernard DeVoto’s mistrust of fruit juice in my spirits: “all pestilential, all gangrenous, all vile” was the great man’s verdict. His main objection was sweetness but I will include the admittedly savoury tomato in my ban. At the cocktail hour, I have been known to crave all kinds of odd concoctions but none has included pulp.

To many, the whole point of a Bloody Mary is that you don’t wait until the cocktail hour. This seems to entail a certain shying away from unpleasant realities. I know perfectly well the reaction I would get if I were to ask for a grilled tomato and a chilled Martini at brunch: my friends would start likening me to F Scott Fitzgerald and they wouldn’t be referring to my writing talent. Despite its remarkably similar contents, a Bloody Mary is a perfectly acceptable midday, middle-class beverage. If the original Mary were here to witness such hypocrisy, she would surely tut and reach for her firelighters.

Yet, like the good Catholic I certainly am not, I must confess, for I have seen the error of my ways. In July, on Vancouver Island, I tried a Bloody Caesar – Canada’s spirited response to England’s favourite breakfast tipple (“I’ll see your Tudor queen, you bunch of retrograde royalists, and raise you a Roman emperor”). The main difference is a weird yet oddly palatable concoction called Clamato: tomato juice thinned and refined by clam juice. Replace your standard slop with this stuff, which has all the tang of tomato yet flows like a veritable Niagara, and you will have a drink far stranger yet more delicious than the traditional version.

Apparently, the Caesar was invented by an Italian restaurateur in Calgary, Alberta, who wanted a liquid version of his favourite dish from the old country: spaghetti alle vongole in rosso (clam and tomato spaghetti). He got it – and, more importantly, the rest of us got something we can drink not at breakfast but instead of dinner. Find a really interesting garnish – pickled bull kelp or spicy pickled celery, say – and you can even claim to have eaten your greens.

I’m sure that dedicated fans of the Bloody Mary will consider this entire column heretical, which seems appropriate: that’s the side I was born on, being Jewish, and I like to hope I wouldn’t switch even under extreme forms of persuasion. But this cocktail is in any case a broad church: few cocktails come in so many different incarnations.

The original was invented, according to him, by Fernand Petiot, who was a French barman in New York during Prohibition (and so must have known a thing or two about hypocrisy). It includes lemon juice and a “layer” of Worcestershire sauce and the tomato juice is strained; it may also actually have been named after a barmaid.

All of which proves only that dogma has no place at the bar. Variety is the spice of life, which makes it ironic that the world’s spiciest cocktail bestows a frivolous immortality on a woman who believed all choice to be the work of the devil.

Next week John Burnside on nature

Nina Caplan is the 2014 Fortnum & Mason Drink Writer of the Year and 2014 Louis Roederer International Wine Columnist of the Year for her columns on drink in the New Statesman. She tweets as @NinaCaplan.

This article first appeared in the 08 October 2015 issue of the New Statesman, Putin vs Isis

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What Jeremy Corbyn can learn from Orwell

Corbyn’s ideas may echo George Orwell’s – but they’d need Orwell’s Britain to work. It’s time Corbyn accepted the British as they are today.

All Labour Party leaderships since 1900 have offered themselves as “new”, but Tony Blair’s succession in 1994 triggered a break with the past so ruthless that the Labour leadership virtually declared war on the party. Now it is party members’ turn and they, for now at any rate, think that real Labour is Jeremy.

To Keir Hardie, real Labour had been a trade union lobby expounding Fellowship. To the Webbs, real Labour was “common ownership” by the best means available. Sidney’s Clause Four (adopted 1918) left open what that might be. In the 1920s, the Christian Socialist R H Tawney stitched Equality into the banner, but during the Depression young intellectuals such as Evan Durbin and Hugh Gaitskell designated Planning as Labour’s modern mission. After the Second World War, Clement Attlee followed the miners (and the London Passenger Transport Board) into Nationalisation. Harold Wilson tried to inject Science and Technology into the mix but everything after that was an attempt to move Labour away from state-regulated markets and in the direction of market-regulated states.

What made the recent leadership contest so alarming was how broken was the intellectual tradition. None of the candidates made anything of a long history of thinking about the relationship between socialism and what the people want. Yvette Cooper wanted to go over the numbers; only they were the wrong numbers. Andy Burnham twisted and turned. Liz Kendall based her bid on two words: “Have me.” Only Jeremy Corbyn seemed to have any kind of Labour narrative to tell and, of course, ever the ­rebel, he was not responsible for any of it. His conference address in Brighton was little more than the notes of a street-corner campaigner to a small crowd.

Given the paucity of thinking, and this being an English party for now, it is only a matter of time before George Orwell is brought in to see how Jeremy measures up. In fact, it’s happened already. Rafael Behr in the Guardian and Nick Cohen in the Spectator both see him as the kind of hard-left intellectual Orwell dreaded, while Charles Cooke in the National Review and Jason Cowley in the New Statesman joined unlikely fashion forces to take a side-look at Jeremy’s dreadful dress sense – to Orwell, a sure sign of a socialist. Cooke thought he looked like a “burned-out geography teacher at a third-rate comprehensive”. Cowley thought he looked like a red-brick university sociology lecturer circa 1978. Fair enough. He does. But there is more. Being a middle-class teetotal vegetarian bicycling socialistic feministic atheistic metropolitan anti-racist republican nice guy, with allotment and “squashily pacifist” leanings to match, clearly puts him in the land of the cranks as described by Orwell in The Road to Wigan Pier (1937) – one of “that dreary tribe of high-minded women and sandal-wearers and bearded fruit-juice drinkers who come flocking towards the smell of ‘progress’ like bluebottles to a dead cat”. And though Corbyn, as “a fully fledged, fully bearded, unabashed socialist” (Huffington Post), might make all true Orwellians twitch, he really made their day when he refused to sing the National Anthem. Orwell cited precisely that (see “The Lion and the Unicorn”, 1941) as an example of the distance between left-wing intellectuals and the people. It seemed that, by standing there, mouth shut, Comrade Corbyn didn’t just cut his wrists, he lay down full length in the coffin and pulled the lid shut.


Trouble is, this line of attack not only misrepresents the Labour leader, it misrepresents Orwell. For the great man was not as unflinchingly straight and true as some people think. It is impossible, for instance, to think of Orwell singing “God Save the King”, because he, too, was one of that “dreary tribe” of London lefties, and even when he joined Labour he remained ever the rebel. As for Corbyn, for a start, he is not badly dressed. He just doesn’t look like Chuka or Tristram. He may look like a threadbare schoolteacher, but Orwell was one twice over. Orwell was never a vegetarian or a teetotaller, but, like Corbyn, neither was he interested in fancy food (or drink), he kept an allotment, drove a motorbike, bicycled, cared about the poor, cared about the environment, loathed the empire, came close to pacifism at one point, and opposed war with Germany well past the time when it was reasonable to do so.

In Orwell’s thinking about socialism, for too long his main reference point was the London Marxist left. Not only did he make speeches in favour of revolutions, he took part in one with a gun in his hand. Orwell was far more interested, as Corbyn has been far more interested, in speaking truth to power than in holding office. His loyalty was to the movement, or at least the idea of the movement, not to MPs or the front bench, which he rarely mentioned. There is nothing in Corbyn’s position that would have shocked Orwell and, should they have met, there’d have been much to talk about: belief in public ownership and non-economic values, confidence in the state’s ability to make life better, progressive taxation, national health, state education, social care, anti-socially useless banking, anti-colonialism and a whole lot of other anti-isms besides. It’s hard to be sure what Orwell’s position would have been on Trident and immigration. Not Corbyn’s, I suspect. He was not as alert to feminism as he might have been but equally, few men try to write novels from a woman’s point of view and all Orwellians recognise that Julia is the dark hero of Nineteen Eighty-Four. In truth they are both austere types, not in it for themselves and not on anyone else’s expense account either. Corbyn won the leadership because this shone through from the very beginning. He came across as unaffected and straightforward – much as Orwell tried to be in his writing.

Except, as powerfully expressed in these pages by John Gray, Corbyn’s politics were made for another world. What sort of world would he need? First off, he’d need a regulated labour market: regulated by the state in partnership with a labour movement sensitive to what people wanted and experienced in trying to provide it. He would also need capital controls, a manufacturing base capable of building the new investment with Keynesian payback, an efficient and motivated Inland Revenue, a widespread public-service ethos that sees the country as an asset, not a market, and an overwhelming democratic mandate to get things done. In other words, Corbyn needs Orwell’s Britain – not this one – and at the very least, if he can’t have that, he needs the freedom to act that the European Commission forbids.

There’s another problem. Orwell did not trust left-wing intellectuals and spent half his life trying to work out their motivations as a class who spoke for the people, went in search of the people, and praised the people, but did not know them or believe in them. True, Corbyn says he wants to be open and inclusive, but we know he can’t possibly mean it when he says it will be the party, not him or the PLP, that will decide policy, just as we knew it couldn’t possibly be true when he said he’d turn PMQs into the People’s Question Time. Jeremy hasn’t changed his mind in forty years, appears to have great difficulty (unlike Tony Benn) in fusing socialism to national identity or experience (Hardie, Ben Okri and Maya Angelou were bolted on to his Brighton speech) and seems to think that not being happy with what you are given somehow captures the historic essence of socialism (rather than its opposite).

Granted, not thinking outside the ­circle is an inherent fault of the sectarian left but some of our most prominent left-wing journalists have it, too. Working-class support for nationalisation? Good. Right answer! Working-class opposition to benefit scroungers and further mass immigration? Bad. Wrong answer! Would you like to try again? In his essay “In Defence of Comrade Zilliacus” (1947) Orwell reckoned that left-wing intellectuals saw only what they wanted to see. For all their talk of representing the people, they hated the masses. “What they are frightened of is the prevailing opinion within their own group . . . there is always an orthodoxy, a parrot-cry . . .”

The game is hard and he may go down in a welter of knives, yet Corbyn still has time. He may go on making the same speech – on the benefits of apple pie to apple growers – but at some point he will have to drop the wish-list and get on the side of the British people as they are, and live with that, and build into it. Only the nation state can even begin to do the things he wants to do. The quicker he gets that, the quicker we can see if the latest incarnation of new Labour has a future.

Robert Colls is the author of “George Orwell: English Rebel” (Oxford University Press)

This article first appeared in the 08 October 2015 issue of the New Statesman, Putin vs Isis