Saturday Edition on BBC Radio 5 Live: A complete waste of space

The programme took a good three hours to tell us why commercial space travel has been nothing but a disappointment.

Saturday Edition
BBC Radio 5 Live

A humans-in-space special (22 June, 7pm) devoted three hours to previewing what it will be like for travellers on the first commercial flights into the void between celestial bodies next year. Thus far, it was roundly agreed, things have been a bit duff. “We were promised space stations,” grumbled someone from the Jodrell Bank Observatory. “We were promised jet-packed lunar whatsits.”

The star of the show was an Italian astronaut, Paolo Nespoli, speaking down the line from Planet Earth, although the connection was very bad. Nobody thought to explain why – it was as if all phone calls from astronauts, whatever their location, necessarily sound this crackly. Paolo trained for ten years for a spacewalk that “never happened”, because there was “never any emergency to deal with”, and spent much of his 12 months up at the International Space Station taking 26,000 photographs of the Great Wall of China.

“Speak English good . . . Health status Superman,” communicated Paolo, mysteriously. “Hmm, hmm,” keened Chris Warburton in the studio. Did Paolo ever get a migraine? “Pretty good . . . Pharmacy on-board,” crackled Paolo. Now you’re talking. But immediately it switches to Richard Branson yelling, “To be perfectly honest, I think it would be sad for someone to not want to go to space!” in an advert for Virgin Galactic. Six hundred people have already bought tickets at $250,000 each. For this, they will train for three days and then take “the slow walk over the tarmac” towards the craft.

This branch of tourism is entirely dependent on this one image: the slo-mo stride in white suits. However, those still hoping for space stations are doomed to further disappointment. With engines so powerful that the jets can eject from pretty much anywhere, travellers will presumably be leaving from Heathrow. The flight lasts two hours – four minutes to reach space, five minutes experiencing weightlessness and oodles of time to take photos of the Great Wall. Never has the banality of the project been so baldly put. Nobody pointed out that surely space travel will become less successful the more people do it. Once you are the third oligarch around the dinner table parading your photos of the pyramids, the price will come crashing down. Eventually, the whole thing will die away out of sheer tedium.

"The star of the show was Paolo Nespoli, speaking down the line from Planet Earth, although the connection was very bad." Photograph: Getty Images.

Antonia Quirke is an author and journalist. She is a presenter on The Film Programme and Pick of the Week (Radio 4) and Film 2015 and The One Show (BBC 1). She writes a column on radio for the New Statesman.

This article first appeared in the 01 July 2013 issue of the New Statesman, Brazil erupts

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“I see the world in rectangles”: Life as a Lego Master Builder

Nathan Sawaya stunned colleagues when he quit his job as a lawyer to play with Lego full-time. Now everyone from Lady Gaga to Barack Obama’s a fan.

Nathan Sawaya is describing his favourite Lego brick, shiny-eyed and grinning at the thought of it. But he’s not a child proudly displaying a beloved toy. He’s a 43-year-old former corporate lawyer, and well over six foot tall. The brick he is evangelising about is a small 1x2 socket plate with a stud in the centre of its top. He calls this a “Jumper”.

“You know your Lego lingo?” he asks, looking crestfallen when I shake my head. “It has only one stud instead of two, and it allows you to do even more detail because you can offset the brick a little bit. But in general, I focus on the rectangular pieces.”


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Sawaya is one of the world’s eight Lego Master Builders, having left his job at a New York law firm when he was 32 to dedicate his life to building Lego constructions full-time. His most striking works include a torso of a man ripping his chest open with bricks spilling out, called Yellow, a lifesize T-Rex skeleton, a two-metre long model of Brooklyn Bridge, and replicas of famous paintings, including the Mona Lisa, and Edvard Munch’s Scream.

I meet him in a dark exhibition space in a tent on London’s Southbank, where his works are lit up around us. His latest constructions consist of a series of DC Comics superheroes, so we are surrounded by expressionless Supermen flying around us, capes realistically rippling, and a full-size Batmobile with glistening batwings. His boyish eagerness aside, Sawaya himself looks like a comic book villain – a hulking figure dressed in black from top to toe, with a long black overcoat, piercing eyes and thick dark hair.


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Back in his early thirties when he was a lawyer, he would come home after a punishing day at work and do something creative – drawing, painting, sculpting with clay and wire. He soon began to experiment with Lego, constructing models out of sets he had lying around the house. His son, now 17, was never particularly interested in playing with it himself.

“Eventually I made the choice to leave the law firm behind and become a full-time artist who plays with toys,” he beams.

His family was supportive, his colleagues jealous, and his bosses confused – but it wasn’t long until Sawaya found success as a Lego artist. He has had exhibitions of his work on every continent but Antarctica, and gained some high-profile fans. When he was US President, Barack Obama posed with one of his installations – monochrome life-size men sitting on park benches in Washington – and Bill Clinton has a sculpture in his office, as does Lady Gaga in a music video.

“That is the magic of Lego,” he says of his popularity. “It has become a universal language in a way.”


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Sawaya’s Master Builder status means he can buy all his bricks directly from Lego in bulk – not possible for us Lego civilians. He used to buy sets in toy shops and on eBay when starting out; now he can email asking for 500,000 red 2x4 bricks, say, and Lego ships them to him on wooden pallets. He has six million bricks on hand at his studio in Los Angeles. “Millions of each colour and shape and size,” he says. “And they’re all organised by shape and colour.”

He works away for hours at a time in his studio, with his dogs obediently at his feet, in what he describes as a “trance”. He plans designs on special “brick paper” like graph paper, but sometimes he free-builds from his imagination. “I do often see the world in rectangles,” he says, and sometimes he even dreams in bricks.

Just like children do with Lego sets, he simply snaps the bricks together – though he does dab glue between each brick, which triples the time it takes. He describes it as “therapeutic”, but says making a mistake can be “heartbreaking” – he can lose days and weeks of work at a time. “There may be times where I start questioning my choices in life,” he smiles.


Photos: Copyright Jane Hobson

Sawaya faced snobbery from the art world when he first began approaching galleries as a Lego artist. “Oh, is that cars and trucks and little castles?” was the response. He feels it’s now a more acceptable medium. “It makes art accessible,” he says. “And in doing that, it democratises the art world a bit. It allows people to relate to the art. Everyone has snapped a brick together at one point, every child has played a little bit with Lego.

“As an artist, my role is to inspire. And what better way to do it than through a medium everyone is familiar with? If someone sees a marble statue, they can appreciate it, but very few people have marble at home they can chip away at.”

The first Lego creation Sawaya can remember making was a little house, when he was first given the toy at the age of five. He then made a city that grew to 36 square feet. When he was ten, he was desperate for a dog. His parents refused, so he tore all his creations down and built a lifesize one. “It was blocky and very multi-coloured, of course,” he says. “But it was that ‘Aha!’ moment – when I realised it doesn’t have to be on the front of the box. It can be whatever I want.”

The Art of the Brick: DC Super Heroes is on at Upper Ground, Southbank, London, until 3 September 2017.

Anoosh Chakelian is senior writer at the New Statesman.

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