One New Change: a review

Is London ready for Jean Nouvel's new City shopping centre?

One New Change: three seemingly simple words, the street address in fact, though one can almost feel the agonising and painstaking thought (and thousands of pounds) that must have gone into choosing the name from (and to) countless PR, marketing and branding types, underneath this thin veneer of nominal simplicity. Or maybe, in it's ready made corporate splendor, "One New Change" suited Land Secruties, the developers of the mixed use complex, just fine? It couldn't be any better really, with its tripartite, sculpted, production line, Cameroonian sleekness.

The City's new shopping mall by Jean Nouvel (his first permanent building in the UK) is a sleek, grey-brown burnished glass consumerist leviathan, full of sharp cantilevered edges and snide geometric tricks which mask its vastness. Unquestionably not in the same league as Nouvel's most celebrated creations - the Fondation Cartier and Institut du Monde Arabe in Paris - One New Change seems to bear a greater resemblance to Nouvel's temporary Serpentine pavilion, which opened this summer, with its similar minimalist slices of red metal juxtaposed against one another.

The basic plan of the building is centred on a hexagonal atrium, where the lift shaft is, and spans out on four sides, leading into open "streets" which go into the adjacent roads and squares. This is clearly an attempt to tie the building into the City's heritage, to present the mall as a sort of post-modern Leadenhall market, if you will (hopefully we will not).

Nouvel is more explicit about his desire to build within the architectural strictures of the City when commenting on what is undoubtedly the project's aesthetic coup de théâtre: the roof terrace, with its spectacular view of Wren's masterpiece of the English baroque, St Paul's. Rather than try and challenge the cathedral architecturally (an absurd idea, as any architect would know), Nouvel admits that he has purposefully made sure "the design is calm and deferential to St Paul's". It's a decision that's more than vindicated by the result, which is not just the finest view of St Paul's above street level, available gratis (for the moment at least), but one of the most thrilling panoramas of London's skyline to be seen anywhere. From the terrace, one can see the Barbican, Renzo Piano's unfinished Shard, City Hall, Southwark cathedral and, appropriately for a work that claims deference as one of its selling points, a good spattering of Wren and Hawksmoor's City churches.

When it comes to the interior, the only things of note, in amongst the polished marble and stainless steel railings and the touch screen guides to the building, is that the shops here are more of the Topshop and Office variety than the Dior or Louis Vuitton of Shepherd's Bush's Westfield. This is no doubt the result of well informed market research carried out at the behest of Land Securities, who have backed One New Change to the pretty tune of £500 million, and judging by the fact that they have already let almost every available retail space in the building they are probably right.

The press have, unsurprisingly, been rather mixed in their reaction to what the promotional website calls "London's newest shopping destination". The Evening Standard breathlessly called it "the most tangible sign yet that the economic recovery is underway", but Jonathan Glancey, the Guardian's architectural critic, accused Nouvel of "robbing the City of what passes for its soul". Glancey is almost certainly right, but either way I suggest you get up to the roof terrace and see what may be the best view of St Paul's in London whilst it's still free.

Home Alone 2: Lost in New York
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The best film soundtracks to help you pretend you live in a magical Christmas world

It’s December. You no longer have an excuse.

It’s December, which means it’s officially time to crack out the Christmas music. But while Mariah Carey and Slade have their everlasting charms, I find the best way to slip into the seasonal spirit is to use a film score to soundtrack your boring daily activities: sitting at your desk at work, doing some Christmas shopping, getting the tube. So here are the best soundtracks and scores to get you feeling festive this month.

A Charlie Brown Christmas (1965)

Although this is a children’s film, it’s the most grown-up soundtrack on the list. Think smooth jazz with a Christmas twist, the kind of tunes Ryan Gosling is playing at the fancy restaurant in La La Land, plus the occasional choir of precocious kids. Imagine yourself sat in a cocktail chair. You’re drinking an elaborate cocktail. Perhaps there is a cocktail sausage involved also. Either way, you’re dressed head-to-toe in silk and half-heartedly unwrapping Christmas presents as though you’ve already received every gift under the sun. You are so luxurious you are bored to tears of luxury – until a tiny voice comes along and reminds you of the true meaning of Christmas. This is the kind of life the A Charlie Brown Christmas soundtrack can give you. Take it with both hands.

Elf (2003)

There is a moment in Elf when Buddy pours maple syrup over his spaghetti, washing it all down with a bottle of Coca Cola. “We elves like to stick to the four main food groups,” he explains, “candy, candy canes, candy corns and syrup.” This soundtrack is the audio equivalent – sickly sweet, sugary to an almost cloying degree, as it comes peppered with cute little flutes, squeaky elf voices and sleigh bells. The album Elf: Music from the Motion Picture offers a more durable selection of classics used in the movie, including some of the greatest 1950s Christmas songs – from Louis Prima’s 1957 recording of “Pennies from Heaven”, two versions of “Sleigh Ride”, Eddy Arnold’s “Santa Claus is Coming to Town” and Eartha Kitt’s 1953 “Santa Baby”. But if a sweet orchestral score is more your thing, the Elf OST of course finishes things off with the track “Spaghetti and Syrup”. Just watch out for the sugar-rush headache.

Harry Potter (2001-2011)

There are some Christmas-specific songs hidden in each of the iconic Harry Potter scores, from “Christmas at Hogwarts” to “The Whomping Willow and The Snowball Fight” to “The Kiss” (“Mistletoe!” “Probably full of knargles”), but all the magical tinkling music from these films has a Christmassy vibe. Specifically concentrate on the first three films, when John Williams was still on board and things were still mostly wonderful and mystical for Harry, Ron and Hermione. Perfect listening for that moment just before the snow starts to fall, and you can pretend you’re as magical as the Hogwarts enchanted ceiling (or Ron, that one time).

Carol (2015)

Perhaps you’re just a little too sophisticated for the commercial terror of Christmas, but, like Cate Blanchett, you still want to feel gorgeously seasonal when buying that perfect wooden train set. Then the subtly festive leanings of the Carol soundtrack is for you. Let your eyes meet a stranger’s across the department store floor, or stare longingly out of the window as your lover buys the perfect Christmas tree from the side of the road. Just do it while listening to this score, which is pleasingly interspersed with songs of longing like “Smoke Rings” and “No Other Love”.

Holiday Inn (1942)

There’s more to this soundtrack than just “White Christmas”, from Bing Crosby singing “Let’s Start The New Year Off Right” to Fred Astaire’s “You’re Easy To Dance With” to the pair’s duet on “I’ll Capture Your Heart”. The score is perfect frosty walk music, too: nostalgic, dreamy, unapologetically merry all at once.

The Tailor of Gloucester (1993)

Okay, I’m being a little self-indulgent here, but bear with me. “The Tailor of Gloucester”, adapted from the Beatrix Potter story, was an episode of the BBC series The World of Peter Rabbit and Friends and aired in 1993. A Christmastime story set in Gloucester, the place I was born, was always going to be right up my street, and our tatty VHS came out at least once a year throughout my childhood. But the music from this is something special: songs “The Tailor of Gloucester”, “Songs From Gloucester” and “Silent Falls the Winter Snow” are melancholy and very strange, and feature the singing voices of drunk rats, smug mice and a very bitter cat. It also showcases what is in my view one of the best Christmas carols, “Sussex Carol.” If you’re the kind of person who likes traditional wreaths and period dramas, and plans to watch Victorian Baking at Christmas when it airs this December 25th, this is the soundtrack for you.

Home Alone (1990-1992)

The greatest, the original, the godfather of all Christmas film soundtracks is, of course, John William’s Home Alone score. This is for everyone who likes or even merely tolerates Christmas, no exceptions. It’s simply not Christmas until you’ve listened to “Somewhere in My Memory” 80,000 times whilst staring enviously into the perfect Christmassy homes of strangers or sung “White Christmas” to the mirror. I’m sorry, I don’t make the rules. Go listen to it now—and don't forget Home Alone 2: Lost in New York, which is as good as the first.

Anna Leszkiewicz is a pop culture writer at the New Statesman.