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Painted House | Architecture review

March 10th, 2010

Jonathan Woolf and Bharat Patel's radical reimagining of a north London semi-detached house calls into question all our notions about suburban living, writes Rowan Moore

Suburbia is the place people love to mock. It is the place whence writers and artists used to escape, so that they could make a career scouring its pettiness and restrictions. It is reviled by planners and architects. Suburbia, in which four-fifths of British people live (depending on how you define it), is accused of being stifling, ugly, boring, antisocial and environmentally destructive.

Planning policy, led by Lord Rogers's Urban Task Force of over a decade ago, has championed the opposite of suburbs: compact, dense, "vibrant" cities on the continental model. Now, though, there is a backlash or, rather, something more suburbanly genteel. A back-waft, perhaps, or a crooked little finger raised in a somewhat adversarial manner.

Paul Barker's recent book The Freedoms of Suburbia praised its "blessedly anarchic form". Trendy young architects now point out the virtues of the semi-detached and teach students at architecture schools to study the hidden social structures of suburbia. The mayor of London set up an Outer London Commission to support those commuter zones that largely got him elected. The country's smarter property developers are exploring what a contemporary suburban home could be.

The first purpose of the Painted House, in an outer area of north-west London, is to be a home for a family of 11 people spread over three generations, but it is also what its architect, Jonathan Woolf, calls a "model" for other developments. It shows what a large semi-d in a leafy avenue can be.

The Painted House occupies the exact footprint and volume of a pair of 1920s semi-detached houses that previously stood on its site, but is different in almost every detail from the suburban norm. Its owners had wanted a contemporary, flat-roofed house similar to others Woolf has designed, but local residents and planners insisted it follow the gabled, bay-windowed form of its neighbours.

This it now does, but without decorative trimmings. Its front is simplified and all brick, provoking a couple of double-takes. Is it an interwar semi or a sculptural image of one, a late derivation of Rachel Whiteread's concrete houses? And is it one house or is it two? One of the two front doors is half-concealed, allowing you to read it as a single dwelling, but the symmetrical pairing of its gables and bays makes it look like two houses.

The exterior is on the severe side and were it not for a certain quality in the brick and the details it might look like an austere postwar reconstruction of a doodlebug victim. The real surprise is when you go inside. Instead of a crabby, tricky assembly of parlours and halls, you find an expansive array of simple, generous, white-walled, light-filled rooms.

It all revolves around the kitchen which, in such a large family, is in use all day. Around here, different satellites orbit: a gym, a home office and the bedrooms and suites occupied by two brothers and their wives, parents and children. There is also a shrine to their Jain faith. Thanks to ample storage, all is exceptionally tidy, but not oppressively so, even in the children's rooms. "I think kids become tidy if you give them the right spaces," says one of the brothers.

There is, as yet, no art on the walls. "It's quite difficult to agree on art when there are 11 different opinions," he says.

The basic style is Shoreditch Loft Contemporary. It is superficially much as decent metropolitan architects have been turning out these last two decades, but it has a looseness, or a lack of uptightness, that sets it apart. On the top floor, the hipped, gabled roof of the exterior is allowed to shape a rich interior of triangles, slopes and facets that Woolf calls both "Elizabethan" and "well-mannered Frank Gehry".

Nor does the design fetishise materials, as other minimalist architecture does, as with rare pieces of oak, or pietra serena or Carrara marble imported at great expense. "People now can have whatever materials they want," says Woolf, "and they do. People use materials as a statement. But I wanted to achieve dignity and character without resorting to the emporium of world materials on our doorstep. I was just interested in form and paint."

This is why it is called the Painted House and Jonathan Woolf's approach contributes to the livability of the place and its absence of preciousness. As to whether it is one house or two, the question remains open. It is currently inhabited as a single, diffuse spread of differently proportioned and oriented rooms, but it has two staircases and a wall down its middle and it could easily be made back into two houses, if desired and required.

The question about suburbia is whether it is conformist and controlling or, as Barker claims, liberating. Is it a place of pointless etiquette and social codes, of competitive respectability and petty restriction, or does it allow people to do whatever they want, to be poets, or white witches, or the swingers of suburban myth?

The fact that the Painted House struggled with the planners suggests that conformity had the upper hand, but the virtues of the completed house are its openness to change and the freedom it offers to inhabit it in many different ways.

As to whether it is a model for others, its success is helped by its ample size – at about 750 square metres, it is four or five times as large as the average house. But its virtues of flexibility, adaptability and diversity within simplicity should be applicable anywhere.

• This article was amended on Tuesday, 9 March 2010 because we omitted to credit Bharat Patel as one of the people who "reimagined" the Painted House in conjunction with Jonathan Woolf.


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Notes and queries: Why is Doctor Who always a Time Lord and not a Lady?

March 8th, 2010

Why is Doctor Who always a Time Lord and not a Lady? Journeys to the centre of the Earth; The meaning of a hiding to nothing

Why is Doctor Who always regenerated as a Time Lord, not a Time Lady?

In Doctor Who the process of regeneration is the renewing of every cell in a Time Lord's dying, damaged or unwanted body. Since Time Lords (and Time Ladies, and perhaps even Time Tots, as the children of Gallifrey are known) can change species when they regenerate, there is presumably no reason why they can't also swap sex. There's certainly nothing in the TV series' history to contradict this theory and indeed no way of telling whether the Master, the Doctor's sworn enemy, spent one or more of his 13 wasted lives as a femme fatale called the Mistress. 

Kieran Grant, London N22

Time Lords can be male or female. One of Tom Baker's companions was actually a female Time Lord called Romana who regenerated between seasons and I also understand that one of his recurring enemies was another female of the species called The Rani.

Apparently, the only way a Time Lord can regenerate as a member of the opposite sex is to commit suicide. This has happened at least once to my knowledge, in a Doctor Who Unbound audiobook called Exile, where he commits suicide and becomes Arabella Weir in order to hide from pursuers.

Guy Thomas, Canterbury

Why the Doctor has never managed to exchange his Y chromosome for a second X is one of the universe's great unsolved mysteries. Had he managed to do so, we might have been fortunate enough to experience the doctorly delights of the likes of Honor Blackman, Judi Dench, Sheila Hancock, Maggie Smith or Kathy Burke. Whatever the reasons for such rigid gender typecasting, lack of available talent isn't one of them.

Sheila Kirby, Esbjerg V, Denmark

The world's tallest building is the 828m Burj Dubai, but what is the world's deepest man-made structure?

Various mines and deep geological repositories for nuclear waste approach one kilometre. At 24.5km, Norway's Laerdal tunnel is the longest road tunnel in the world, and also up to 1400 metres deep. However, the record for the deepest hole is held by the Russians, who started drilling the Kola Superdeep Borehole in 1970 and reached the depth of 12,261 metres in 1989. The purpose of this hole is to study the continental crust. However, this represents only about 0.2% of the journey to the centre of the Earth.

In a tongue-in-cheek paper published in the science journal Nature, David Stevenson, professor of planetary science at Caltech, explains how a grapefruit-sized unmanned probe could reach the centre of the earth in a week or so. The first step would be to detonate a nuclear bomb to generate a crack in the Earth's crust 30cm wide and several hundred metres long and deep. Molten iron containing the probe would need to be poured into the crack the instant it formed. Being denser, the iron would sink, which would lead to the release of gravitational potential energy, melting the underlying rock. Once the glob of iron had passed, the rock would close up again. Data would be sent to the surface as vibrations. But the £6.5bn price tag means it will not be happening any time soon.

Mike Follows, Willenhall, W Midlands

"A hiding to nothing" – I know what it implies but it doesn't make sense. Can anyone explain?

It refers to a situation where one has everything to lose and nothing to gain. It is used (often in football) to describe a contest against supposedly inferior opposition where winning would be expected and produce little credit, while losing would be a calamity. The hiding refers not so much to the other team's performance but to the public outcry and humiliation.

The meaning of "hiding" is from the association of corporal punishment with the tanning of skins. Hence, "I'll tan your hide" and "give you a good hiding". So winning the uneven contest would be "nothing", while losing would be a "hiding".

Martin Skinner, Leamington Spa, Warks

Why are there no female Formula One drivers?

Due to their ancestors' roles as (respectively) hunters and nurturers, men's and women's brains evolved different pathways to help them make decisions. Women specialised in more nuanced, longer-term decisions, while men learned how to make good instant decisions. It's a bit of a generalisation, and there are obviously exceptions – the female Red Arrow, for instance, and the men who work in caring professions – but together with their numerical advantage, it explains why men become (and want to become) racing drivers and fighter pilots.

Nick Marsh, Sutton-at-Hone, Kent

Any answers

In folklore werewolves look like real wolves. That's the whole point – you don't know which is real and which is supernatural until it's too late. So why in films and TV do they look like very hairy people?

Susan Deal, Sheffield

What is the origin of the mortarboard as an item of academic dress? Why is it worn by graduates at some universities but not at others?

Lilian Dunlop, Manchester

Send questions and answers to nq@guardian.co.uk. Please include name, address and phone number.


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The seven wonders of Wales

March 1st, 2010

An old rhyme gives Dixe Wills the excuse to celebrate an overlooked corner of Wales on St David's Day

"Pistyll Rhaeadr and Wrexham steeple,
Snowdon's mountain without its people,
Overton yew trees, St Winefride's wells,
Llangollen bridge and Gresford bells"

 
Penned by an anonymous 18th-century English traveller, this piece of doggerel, called the Seven Wonders of Wales, probably owes its survival to the fact that, unlike the Eight Wonders of the World, all the Welsh marvels cited are still with us. Furthermore, since six of them are in a small pocket in the north-east of the country, you can collect the set in a long weekend.

So it was that I found myself cycling high into the Berwyn Mountains in search of Pistyll Rhaeadr, a waterfall, which at 240 feet, is a true Welsh wonder. There can't be many outdoor attractions that are best seen in the rain, but a waterfall is one of them. High above my head, the rain-swollen river Rhaeadr tumbled over the precipice in thick silver threads. A further six hours of solid downpour rather took the edge off my exultation.

The cosiness of Cornerstones – an extraordinary B&B that has fused together three of Llangollen's 16th-century houses – was thus a welcome sight, and I was soon looking down at a heron stalking the River Dee, just a couple of wing flaps from the medieval Llangollen bridge.
 
Of course, not everyone can get excited about the art of spanning rivers. However, even the least ardent fan would have to admit to the graciousness of these particular arches, each one a slightly different size to fit neatly on to the rocks below. But it's the setting that really makes it – Llangollen's jumble of black-and-white houses swiftly giving way to wooded hills beyond – and in the glorious morning sunshine the pinky fawn stones positively shone in the morning sunlight.
 
The rest of my day was to be spent with yews, a steeple, a set of bells and some curative waters – not always the first things that spring to mind when considering wonders. However, I will confess that there is something about the way that yews rage against the dying of the light: some managing it for thousand of years. The 23 standing guard around Overton's St Mary's church are relative youngsters but some still go back to the Middle Ages.
 
At St Giles' church in nearby Wrexham, a stone bears the faded legend, "This steeple was completed in 1506." The difficulty is that the "steeple" is clearly a tower. A very fine 147-foot sandstone tower, it has to be said and, when I went up on to its roof, I was able to testify that it also commanded extraordinary views of mountains to the west and the Dee valley to the east. However, a steeple it is not.
 
Once upon a time, before we all became so noisy, you would have been able to hear Gresford bells in Wrexham, even though Gresford is three miles away. Gresford's Tower Captain, Hilton Roberts, took me up a stone spiral staircase and introduced me to the monsters. Bell ringing, he told me, is a perfect fusion of music and science. Peals may have fanciful names like Stedman Triples and Yorkshire Surprise Major, but they are strictly governed by mathematical formulae. Logical thinkers they may be, but bell ringers are evidently also touched by a streak of eccentricity. We were up above the bells when Hilton, no spring chicken, suddenly jumped down on to one and started swinging on it, Tarzan-like, just so that I could hear what it sounded like. I was three yards away. It was loud.

It was another sort of madness that brought about St Winefride's well. A rejected suitor called Caradog sliced off young Winefride's head and where it fell a miraculous spring gushed forth. "People from all over the world come here now," a warden told me, kindly handing me a bottle of freshly drawn water. The well itself is a rather wonderful star-shape that feeds water to a pool in which the sick and ailing lower themselves to be healed.
 
I mentioned my visit to Paulene at Celyn Villa, my home from home for the night, asking her if she knew anyone who'd been miraculously cured.
 
"Ah well, strange you should say that," she replied. "I had a verruca for years that wouldn't respond to any treatment whatsoever. I dipped it in the pool and it went away completely."
 
I'm hanging on to that bottle.
 
Bright and early next morning the happy chatter of fellow train passengers accompanied me round the north coast to Bangor and the final wonder, Snowdon. The donkey ride from Llanberis to the top, which our poet may well have enjoyed, was replaced in 1896 by the mountain railway. I confess to having felt slightly guilty as the tiny steam engine strained to push our single carriage upwards, but this was partially assuaged by the fact that I was only going as far as Clogwyn, three-quarters of the way, where I joined a long thin line of people marching to the top.
 
It was quite a party at the summit: 70 or 80 of us – families, groups of friends, a school field trip, a number of very sprightly pensioners – all excited about having conquered Wales' tallest mountain. And why not? Given a clear day it's possible to see Ireland's Wicklow Mountains from here. Having arrived just before the brand new £8m summit visitor centre was officially opened, I whipped out a flask of tea for my celebratory toast: I had succeeded in visiting all seven wonders of Wales.
 
Or had I? The poem clearly stipulated "Snowdon's mountain without its people". Well now, I mused, as I sauntered back down to Llanberis, that would be a wonder.
 

Way to go

Virgin Trains Single from London to Chester from £8 return; 08457 222333; virgintrains.com. Arriva Trains Wales, single from Chester to Gobowen £6.50 return, and Bangor to Chester £22.20 return; 0870 9000773, arrivatrainswales.co.uk.

Snowdon Mountain Railway Llanberis to summit return, adult £23, child £16; 0871 7200033; snowdonrailway.co.uk.

Cornerstones B&B, Llangollen. Doubles from £70; +44 (0)1978 861569, cornerstones-guesthouse.co.uk.

Celyn Villa, Carmel Near Holywell. Doubles from £56; +44 (0)1352 710853, celynvilla.co.uk.

St Winefride's Well, Holywell. Adult 80p, child 20p; +44 (0)1352 713054, saintwinefrideswell.com.


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The Pei master

March 1st, 2010

He is one of the world's greatest architects, whose stunning buildings have sparked both wonder and controversy. IM Pei, now in his 90s, talks to Jonathan Glancey

"It is good to learn from the ­ancients," says IM Pei with a smile. "I'm a bit of an ancient ­myself. They had a lot of time to think about architecture and landscape. Today, we rush ­everything, but architecture is slow, and the landscapes it sits in even slower. It needs the time our political systems won't allow."

Impeccably mannered and ­quietly spoken, Pei, now 92, has walked an ­architectural tightrope for half a ­century. Marrying ancient and modern, he has created buildings as influential as the trapezoid-shaped east wing of Washington's National Gallery of Art, as ambitious as the Bank of China's soaring HQ in Hong Kong, and as controversial as the Pyramide du ­Louvre in Paris. He has won pretty much every prize his profession has to offer; last month he was presented with the prestigious royal gold medal for ­architecture, a gift of the Queen, ­presented by the Royal Institute for British Architects. "A wonderful honour," he says, when we meet in London's Mandarin Oriental hotel, "for someone who hasn't really built here."

Born in Canton, south-east China, in 1917, Pei is the son of a banker and an artistic mother, who would take him to see dreamy Chinese gardens and ­mountainside shrines. "These have always been the most important ­inspiration to me as an architect," says Pei. "I have never forgotten those gardens: wonderful marriages of ­man-made and natural design. I've come back to them again and again; they are my guide as much as the work of Le Corbusier and Mies van der Rohe, who I admired as a young architect newly arrived in the US."

Despite being offered a place at ­Oxford, the lure of America proved too strong for the young Pei. "I liked the America of Bing Crosby, Charlie Chaplin and Buster Keaton – it was all a dream, of course, but a very alluring dream for a young man from Canton." It drew him to San Francisco, and from there to a string of east coast universities, where he studied under Walter Gropius and Marcel Breuer. His intention had been to return to China, but war broke out and he stayed on to become a US ­citizen, setting up his own practice in 1960.

A rose-red vision in the Rockies

Pei's reputation was made with the opening, in 1967, of his bold laboratories for the National Centre for Atmospheric Research in Colorado. Clad in local stone that goes from pink to rose-red to ruddy brown with the passing sun, these geometric labs look and feel like an extension of the Rocky Mountains; yet they are defiantly man-made, right down to the slits and chutes cut into their walls. "When I first came to this awe-­inspiring landscape," says Pei, "it was as if I was standing with my mother again, on a sacred mountainside in China." This being Colorado, though, he looked for inspiration locally. "I ­visited the nearby Indian pueblos," he says, referring to the 13th-century Native American cliff dwellings, "and absorbed their forms and structure."

Pei was 50 when the labs opened; architecture, as he says, shouldn't be hurried. "As a young man, of course I had been looking for something new, even revolutionary. I knew what Le Corbusier was doing. I wanted to go his way. But, after some years, I began to think differently. I became interested in a modern architecture that made connections to place, history and ­nature. Modern architecture needed to be part of an evolutionary, not a ­revolutionary, process."

The infamous Louvre pyramid

Pei went from strength to strength with commissions for Washington's National Gallery of Art and the John F Kennedy Memorial Library in Boston. The former exhibits the powerful, elemental forms that characterise his mature work; the mere fact of being commissioned for the latter shows Pei's standing in his adopted country. His most charismatic work, though, was commissioned far from America. Twenty years ago, Pei unveiled two of his finest buildings: the Bank of China Tower in Hong Kong, and the underground lobbies of the Louvre in Paris capped with his famous (some might say infamous) pyramid.

The tower is one of the most exciting and elegant of all recent skyscrapers. Intended as a symbol of the new, ultra-capitalist People's Republic, the building was a special one for the architect. His father had worked for the Bank of China long before it was taken into state control, while Pei, educated by Christian missionaries at Shanghai's St John's Middle School, had long sided with Chinese ­nationalists rather than Mao's communists. Shortly before the opening of the tower, Pei wrote a powerful editorial for the New York Times condemning the ­Tiananmen Square massacre of 1989, which he saw as a sign that the image China wanted to project to the world – partly through his cool, modern tower – was ­drastically out of step with the reality of life for the country's people.

Yet the tower, with its beautifully expressed, zig-zagging steel frame, rises out of the density of Hong Kong with a confidence and ­elegance that places it above the brutal nature of ­politics. It was the island's tallest building when it opened in 1990, and it still ranks among the finest ­additions to the city, a ­majestic peak in an urban mountain range.

The Louvre pyramid stirred even deeper emotions, and huge ­controversy. Commissioned as one of President ­Mitterrand's grands projets in 1985, this ingenious structure – at once ethereal and crystalline, ancient and ­modern – has slowly won over most of its ­detractors. The tip of an architectural iceberg, it forms the entrance to the cavernous Pei-designed lobbies below. "I hoped the controversy would die down quickly," says Pei. "Perhaps I was a little optimistic. But, you know, the choice of the pyramid was not some personal idiosyncrasy. Paris is a city of pyramids, from the time when ­Napoleon [after whom the court the pyramid rises from is named] became fascinated by Egyptian architecture, after his military campaign along the Nile." What's more, the Cour ­Napoleon is the urban equivalent of a desert plain. Pei's pyramid rises from it as purposefully and fittingly as its massive stone predecessors do from the sands of Giza.

Today, steering well away from ­controversy, Pei is working quietly on a Shinto temple in Kyoto, close to the extraordinary Miho Museum, which sits half-buried in the rugged, misty landscape of the Shiga mountains. "It will be a fusion of ancient feeling and contemporary design," he says. "You know, the first decent ­building I did with my own practice was a chapel in Taiwan." This was the Luce Memorial Chapel. Designed in 1954 and ­completed nine years later, it's a ­stunning, tent-like concrete structure with overlapping roofs that look like stylised leaves falling from the canopy of some sacred grove.

"I think I must be coming full ­circle," says Pei. Perhaps he is. From a Christian chapel in Taiwan to a Shinto temple in Japan, via some of the most impressive and – albeit unintentionally – ­controversial buildings of the past 50 years, Pei, the most ­unpolemical of men, has met the ­challenges of ­architecture at all levels. Somehow, though, I think he would still like to design a garden ­studded with modern ­pavilions that would ­complement (he is not ­interested in rivalling or ­bettering) the place that has so ­inspired him, the Taoist Lion Grove Garden in Suzhou, with its ­poetically named buildings: the ­Standing-in-the-Snow Hall, Faint ­Fragrance Dim Shadow Tower and True Delight ­Pavilion. He acknowledges this by simply saying: "In ­another life, I might be a gardener. How wonderful it must be to design such gardens."

Pei says his toughest ever ­commission was the Museum of ­Islamic Art in ­Qatar, which opened in 2008. How could he distil ­centuries of Islamic ­design into one building? He found the answer when he visited the serene, ninth-century mosque of Ahmad ibn Tulun in Cairo. Its ancient elemental forms, and its ­precise use of shadows thrown by the baking sun, found a new life in Pei's hard-edged, geometrically bold ­museum, set on an artificial island 60 metres off the Doha waterfront.

Pei, after all, is a great believer in continuity. Married for nearly 70 years, he has four children, two of them ­architects. As we talk, he displays a huge ­admiration for the ­longevity of his ­fellow royal gold medal ­winner, Oscar Niemeyer, the ­Brazilian designer of ­cities the world over. ­"Oscar is still a radical," he says. "He's still at work, every day, at the age of 102. Wow! ­Perhaps I'm not so ­ancient after all."


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Suburban regeneration: Croydon | Architecture

February 28th, 2010

Croydon gave the world Kate Moss, but can it ever be sexy? An exciting team of young planners are set to revive the south London suburb and blaze a trail for all British towns, writes Rowan Moore

Recently the London Organising Committee for the Olympic Games announced that they had completed their "food vision". I won't dwell on what this was, but it was final proof that the word "vision" has suffered drastic devaluation. Once it applied to the experiences of exalted saints and prophets, which inspired dazzling paintings and books of the Bible. Now it means something slightly stronger than "memo".

The suburban borough of Croydon has also been subject to repeated "visions" over the past two decades, namely Croydon: The Future; Vision 20:20 and Will Alsop's Third City. Famous architects have zipped in and flourished brightly coloured images that turn Croydon's pervasive grey into flashes of neon, and striven to find an inner Manhattan in its array of towers.

There have been TV shows and articles, mostly with same shtick: Croydon is sexy, really. Yet, as Emma Peters, head of planning, regeneration and conservation, pithily remarks: "Every time we have another vision we've declined economically." From 1995 to 2005, when employment in London grew by 18%, in Croydon it grew not at all.

The borough hasn't given up, however, which is why I find myself sitting with a group of planners who are trying to make the place better. Opposite me is Finn Williams, pale and delicate as a consumptive poet, who looks a decade younger than his 27 years. To one side is Vincent Lacovara, 31, and to the other Tom Sweeney, aged 35. They are describing the deals they are making with heavyweight developers, and their efforts to steer many millions of pounds of investment to beneficial effect.

Planners aren't supposed to look like this. Normally you expect them to be worn and middle-aged, and to have turned the colour of manila through blending with their environment, as certain moths come to resemble tree bark. Williams, Lacovara and Sweeney are signs of the borough's intent to do things differently. It is a long-standing ambition, given new impetus by the arrival in 2007 of Jon Rouse as the borough's chief executive. Rouse, a former chief excutive of both the Commission for Architecture and the Built Environment and the Housing Corporation, is one of the country's more effective civil servants.

The selection of this young band of planners could just be another doomed attempt to sex up Croydon, but what is striking is their determination not to do another "vision". "Every plan for Croydon," says Williams, "has always been desperate to undo the mistakes of the previous plan." Lacovara adds: "The first question people ask when we consult them is: 'Is anything going to happen this time?'"

They embody the attitude of many young architects, which is to take things as you find them rather than impose a grand plan, and to find the spirit of the place, even if that place is not particularly charming. In the 18th century, Capability Brown talked of genius loci in the design of landscapes. These contemporary architects apply the same attitude to office blocks, rather than hills and woods. They also think there's something good about suburbs, in contrast with older architects such as Lord Rogers, for whom dense, Barcelona-like cities are everything.

In the case of Croydon the place was once delightful enough for the Archbishop of Canterbury to build his holiday home there, and it keeps fragments of its ancient past. It was then a stolid Victorian town, before the spread of London's semi-detached suburbia absorbed it into the metropolis. In the 1960s, thanks to a quirk of official policy, it boomed. The government wanted to push new office development out of the centre of London, with the result that it migrated to Croydon.

Its distinctive skyline of stubby towers was created, but when policy was reversed, so was the boom. Croydon has struggled ever since, with BT the latest business to move out. It has resumed its status as a place that prompts faint sniggers among metropolitan types, despite being the location of the world's first international airport, and the town where Malcolm McLaren pioneered punk. It may have given the world Kate Moss, but she now lives elsewhere. Terry Major-Ball, the gnome-selling brother of John Major, was the Croydon resident who stayed.

Yet it is only 15 minutes by train from central London, and the borough's mixture of suburban semis, detached houses and terraced streets mean that there are homes for every stage of life ("nursery to nursing home" as Lacovara puts it). And given the desperate hunger for homes in southern England, it can't be impossible to make it into a place where people want to live. Much of it already is, but the centre remains problematic.

Williams and co don't want to make it into something it is not, but a better version of what it is now. Their proposals are mostly quite obvious, like building a bridge across dividing railway tracks, planting trees, removing the most destructive 1960s road systems, and making it possible to access public places now cut off by roads. But they also get developers to think about what's good and/ or distinctive about Croydon, such as its tendency to place little and large buildings, and ancient and modern ones, side by side.

Above all, although they stress that previous visions left behind ideas of value, like opening up the buried river Wandle, they want something to happen this time. In this they are not just a bunch of young turks, but part of a collective effort that includes more experienced officers such as Emma Peters. This effort includes the creation of delivery vehicles and joint ventures and other devices too technical to be digested over Sunday breakfast, but none the less important. If they succeed, they could finally make Croydon an example that other towns will follow.

Why the new-look US embassy is a lump

There are some things to like about the designs for the new US embassy, unveiled last week. That it is moving from posh Mayfair to tattier Battersea is good for both places, as the residents of one hated the effects of security barriers, while the other could do with the investment.

It claims to be exceptionally green, and its architects KieranTimberlake have a record that makes this believable. The design deals with the immense security measures by trying to disguise them as landscaping, which is at least tactful, while the intricate surfaces shown in the images give an air of quality.

Yet it is a lump. A green, well-dressed, diplomatic lump, but still an ungainly, dominating object that makes minimal attempt to relate to its surroundings. There is no sense that it will join with its existing and future neighbours in creating a cohesive piece of city. It will be a singular object that will loom awkwardly over what is already a disjointed area of London.

For this blame does not only attach to the state department or the architects, but also to the inability of London's planners, from the mayor down, to plan in three dimensions. Battersea was identified as a place of opportunity under Ken Livingstone, meaning that it would be a place where office towers could flourish, yet there has been minimal investment in designing what kind of places this new development might create.

What will make this area succeed or fail is not the artistry of individual facades, but the kind of places that will be made by several buildings working together. And, yes, as many have pointed out, the embassy does look like a Norman keep, complete with moat. We all know it has to be exceptionally bomb-proof, but was it really necessary to rub this point in?


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Roger Ebert: Farewell to my London home

February 26th, 2010

Legendary film critic Roger Ebert reminisces about the eccentric hotel on Jermyn Street that for 25 years was his sanctuary – but now faces demolition

Oh, no. No. No. This ­cannot be. They're ­tearing down 22 Jermyn Street in London. Much of the block is going. Bates hat shop, Trumper the barber, Sergios cafe, all vanishing. Jermyn Street was my street in ­London. My neighbourhood.

There, on a corner near the Lower Regent Street end, I found a time capsule within which the ­eccentricity and charm of an earlier time was still preserved. It was called the ­Eyrie ­Mansion. When I stayed there, I ­considered myself to be living there. I always wanted to live in London, and this was the closest I ever got.

Many years ago I was in London and unhappily staying in a hotel room so small, they had to store my empty ­luggage elsewhere on the premises. I could sit on the bed and rest my ­forehead against the wall opposite. Fed up, I walked out one fine Sunday ­morning to find a better hotel, but not an expensive one. I recalled that ­Suzanne Craig, a Chicago friend of mine, had once informed me: "If you like London so much, you should stay at the Eyrie Mansion in Jermyn Street."

"A haunted house?"

"No, stupid. Spelled like an eagle's nest. And Jermyn isn't spelled like the country, either."

I took the tube from Russell Square to Piccadilly, and surfaced to find backpackers sprawled on the steps of Eros, still asleep after their Saturday night revels. One block down Regent and right on Jermyn and I found a small sign over the sidewalk above a ­doorway. It opened upon a marble corridor pointing me to a man who regarded me from eyes in a scarred face. The gatekeeper of the Eyrie. He disappeared and, when I drew abreast, he was behind a wooden counter protecting an old-fashioned switchboard, a thick registration ledger and a wall of pigeonholes.

"How may I help you, sir?"

"Is this . . . a hotel?"

"Since 1685, I believe. You ­require a room?" He had a ­Spanish accent.

"I'd . . . how much are your rates?"

He consulted a card tacked to the wall.

"For you, sir, £35. That includes full English breakfast, parlour and ­bedroom, own gas fire and maid. Bath en suite."

The rate was a third of what I was paying. I asked to be shown these quarters. He locked the street door. Then we ascended in an open ironwork elevator to an upper floor and I was let into 3A. A living room had tall old ­windows overlooking Jermyn Street. Dark antique furniture: a sideboard, a desk, a chest of drawers, a sofa facing the fireplace, two low easy chairs, tall mirrors above the fire and the sideboard. He used a wooden match to light the gas under artificial logs.

A hall led to a bedroom in which space had been found for two single beds, a bedside table between them, an armoire, a chest, a small vanity table and another gas fireplace. In the bathroom was enthroned the largest bathtub I had ever seen, even in the movies. The fixtures were not modern; the toilet had an overhead tank with a pull-chain.

"This is larger than I expected," I said. "How many rooms do you have in all?"

"Sixteen."

Of course I took it. When I'd moved my luggage in, it was still only 10 o'clock and I rang down for the full English breakfast. The Spaniard said he would prepare it himself as soon as possible, "because Bob is indisposed". He appeared with two fried eggs, a rasher of bacon, orange juice, four slices of toast in an upright warmer, butter, strawberry jam and a pot of tea. I sat at my table, regarded my fire, poured my tea, turned on Radio 3 and read my Sunday Telegraph.

For 25 years I was to come to Jermyn Street time and again. Now I can never ­return. Some obscene ­architectural extrusion will rise upon the sacred land, some eyesore of retail and condos and trendy dining. Piece by piece, this is how a city dies. How many cities can spare a hotel built in 1685, the year James II took the crown? I will barely be able to bring myself to return to ­Jermyn Street, which is, shop for shop, the finest street in London.

That first morning I walked down Regent Street to St James's Park, strolled around the ponds, came up by Prince Charles's residence, climbed St James's Street and returned the full length of Jermyn. I ordered tea. It consisted of tomato, cucumber and butter sandwiches, which the English are unreasonably fond of; ham and butter sandwiches, which I am unreasonably fond of with Colman's English mustard; and cookies – or, excuse me, biscuits.

I had just settled in my easy chair when a key turned in the lock and a nattily dressed man in his 60s let himself in. He held a bottle of Teacher's scotch under his arm. He walked to the sideboard, took a glass, poured a shot, and while filling it with soda from the siphon, asked me, "Fancy a spot?"

"I'm afraid I don't drink," I said.

"Oh, my."

This man sat on my sofa, lit a ­cigarette, and said: "I'm Henry."

"Am I . . . in your room?"

"Oh, no, no, old boy! I'm only the owner. I dropped in to say hello."

This was Henry Togna Sr. He ­appears in a Dickens novel I haven't yet read. I'm sure of it. He appeared in my room almost every afternoon when I stayed at the Eyrie Mansion. It was not difficult to learn his story.

Henry and his wife Doddy lived in the top-floor flat. He may have been the only man to live all of his life within a block of Piccadilly Circus. The Mansion was originally purchased in 1915 by his parents, who came from Italy, and Doddy's parents, who were English. The two children grew up ­together, married, and fathered Henry Jr, "who keeps his irons in a lot of fires". He asked me how I learned of the Eyrie Mansion. "Oh, yes! Suzanne. A lovely girl."

I was usually in London three times a year: in midwinter, in May after Cannes, and in summer. Henry was naturally confiding, and cheerfully indiscreet. That first day he lamented that his assistant, Bob, had gone ­missing when I wanted my breakfast. "Bob is a great trouble to me," he said. "He gets drunk every eighth day. I have implored him to make out a seven-day schedule and stick to it, but no. He will not be content unless he is throwing us off."

"I was well taken care of by the man who checked me in," I said.

"Poor fellow. He was a famous jockey in Spain. His face was burned in a stable fire while he tried to help his horses. He was one of those handsome Spanish boys. He was in a movie once by Buñuel. A film critic like yourself must have heard of him."

"Oh, I have," I said. "I wonder which film?"

"You'll never get that out of him," Henry said. "Nor will he tell you his real name. He says he's hiding out here, working overnights. He doesn't want anyone in Spain to learn where he's gone."

I thought of Jermyn Street as ­Ampersand Street. On Jermyn Street you will find Turnbull & ­Asser, where Saul Bellow bought his shirts and Gene Siskel bought his boxer shorts. You will find ­Paxton & Whitfield, with its window stacked high with cheeses, and Fortnum & Mason, where you can lunch at the soda fountain or plunge into the food hall. Down the street a bit are Sims, Reed & Fogg, the antiquarian booksellers. And, of course, Hilditch & Key, Harvie & Hudson, Crockett & Jones, New & Lingwood – all shirt-sellers. The street is synonymous with shirts.

Next door to the hotel, there is Bates the hatters, with a big top hat hanging over the sidewalk. This was one place where you knew for sure you could find a bowler, a deerstalker or a ­collapsible opera topper. They have had the same cat for 50 years (although it has been stuffed and with a cigar in its mouth for most of that time). Next to Bates, Trumper the men's ­hairdressers. I make it a practice to get my hair cut in every city where possible. Near the Eyrie I went first to ­Georgio's, a one-chair Greek barber shop in a mews off Duke Street. One day I ­followed the Archbishop of ­Canterbury into his chair. In the basement of Simpsons, I had my hair cut next to the former prime minister Edward Heath. Jermyn is that kind of street. Finally I graduated to Trumper, a magnificent shop of brass and leather, wood and mirrors, and the aroma of hair tonics with exotic spices.

Sometimes in walking about the area, I would happen upon Henry, always dressed to befit Jermyn Street, who knew everyone of any interest, from the maitre d' at Wiltons to the man with the Evening Standard stand behind St James's Piccadilly. I never saw Henry in a pub, however, and ­despite the bottle of Teacher's under his arm, I never saw him tipsy.

One day he invited me to lunch. We walked over to a cozy, chic French restaurant in a byway near Leicester Square. Customers waiting in line were ignored as we were seated immediately. We were shown to our banquette by a handsome French woman of a certain age, whose hand, I observed, lingered longer on his shoulder than one might have expected. Henry saw me noticing, and his eyes twinkled.

He was much concerned about the future of the Mansion. "Our landlady is the Queen," he told me. "The Crown Estate agents have always tried to keep the lease terms reasonable, but the price of property is making the most alarming advances. I've raised my prices as much as I dare. Henry Jr wants to take over and make this a ­luxury hotel. Well, it's in the blood. But it frightens me. What kinds of loans will he have to take out? How will he make the payments?"

He brought Henry Jr around to meet me. This was a handsome, pleasant man; friendly, confiding. He said he hoped to keep the charm of the Eyrie Mansion. "But at the prices I'll be forced to charge, the public won't stand for this," he said, regarding the carpets, frayed at the edges, and the furniture somewhat nicked, and staring balefully at the gas fireplace.

As it happened, the gas fire was one of my favorite features. On jet-lagged winter mornings, before dawn, I'd awaken to a flat chilly as I liked it, pull on warm clothes, and venture out into the crisp night to walk up to the newsagent on Piccadilly. I'd buy the Telegraph, Independent, Guardian and Times, and a large cup of hot coffee from an all-night shop around the corner. With these I would return to the Mansion, tune in Radio 3, sit in my low easy chair before the fire, and dream wistfully that such was my life.

Later one winter's day, I set out to walk across Hyde Park from Kensington Gardens to Hyde Park Corner. It was raining, but that was fine with me; I had my Simpsons umbrella. What I didn't know was that the gates to the park were locked at dusk. This I discovered on a notice inside the gate I'd intended to use. I could see the traffic hurrying past up Serpentine Road from the direction of the Royal Albert ­Memorial. There were a lot of taxis.

Unfortunately, an iron fence topped with spikes stood between me and the road. It began raining harder. I scouted and found a low tree branch that might just allow me to stand atop the railing. That meant climbing a hill slippery with wet grass. I failed twice, and became smeared with mud. Digging in the point of my umbrella, I finally made my way up the hill and on to the limb, then balanced on the fence – but it was a good leap down to the ­sidewalk, and I could easily imagine myself with a sprained ankle. Or worse: impaled on the fence.

Pedestrians hurried past, apparently not seeing me. I tried calling for help. I was ignored. Well, if you were hurrying through the park in the rain and saw a fat man with a soaked coat, smeared with mud, balanced on a fence with a filthy umbrella, what would you do?

"Hey, look, it's Roger Ebert!" an American kid said. He was with a group of friends. "No way! Is that really you?"

"Yes, it is," I said. If I had been Prince Charles, I would have answered to "Roger Ebert".

"Far out, dude! What are you doing up there?"

"Trying to get down," I observed.

They helped me down and asked for my autograph, which was gladly ­supplied. I opened my umbrella, hailed a cab, and was at 22 Jermyn Street in 10 minutes. That was one of the occasions when I lit the gas fire and treasured it beyond all reason. After warming up, I filled the big tub for a bath. It was deep, and as long as I was tall. I tinted it a bright green with Wibergs Pine Bath Essence, inhaled warm pine, and reflected that you are never warmer than when you have been cold.

Word came in 1990 that Henry Jr had taken over operations and closed the hotel for ­renovation. In his announcement, he wrote: "I agreed to buy the hotel from my father, famous for his wonderful eccentricity." Of course, Henry Jr discontinued the gas fires.

The Eyrie Mansion was renamed 22 Jermyn Street, and my wife Chaz and I stayed there many times. I liked it, she adored it. When I said I missed the gas fire that you lit with a match, she gave me one of those looks I got when I said I would rather drive a 1957 Studebaker than any newer car. Or eat in a diner than a trendy restaurant. Or wear jeans. You know those looks.

As the luxurious 22 Jermyn Street, the hotel prospered. Croissants and cappuccino were now served as an alternative to full English breakfast. There'd be a flower on the tray. Clients included movie stars and politicians, who valued its privacy and its absence of a lobby. Doddy and Henry Sr would have been proud.

But in autumn 2009 Henry Jr wrote to us: "Sadly the lease has expired and the greater part of the city block in which the hotel is located is to be redeveloped by the Crown Estate as a project named St James's Gateway, over the next two or three years. Like much else in London, it is planned that this very comprehensive and handsome project will be completed in time for the Olympic Games in 2012."

Just what Olympic guests will be looking for in London. One more god-damned comprehensive and handsome project.

© 2010 The Ebert Co. distributed by Universal Uclick.This is an edited extract from Roger Ebert's blog, rogerebert.com

• This article was amended on 26 February 2010. The first paragraph originally read, "the whole block is going", including Getti the Italian restaurant and the Jermyn Street theatre. This has been corrected. Elsewhere in the piece Russell & Bromley was removed from a list of shirtmakers.


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TwiTrip to Leeds – the verdict

February 25th, 2010

Benji Lanyado's Twitter-led trip in search of the soul of Leeds took him from baroque music in a Grade II-listed building to a punk gig in an old working men's club - via the oldest pub in the city, naturally

This TwiTrip had a tough act to follow. The finale of my last Twitter-fuelled adventure - to Blackpool - involved a transvestite cabaret act. Hopefully, Leeds was up to the challenge.

As with all of our previous adventures, nothing was planned. I was to turn up at Leeds station, sling questions into the Twittersphere, and wait for tips to be fired at my profile. Then I would do exactly as I was told. You can see how it played out here ... and below you'll find what the good people of Twitter helped me find.

The Twitter tips

It has become TwiTrip tradition to precede the day's events with a little train-time trivia. As I set off from King's Cross, whizzed through snow-covered Peterborough and headed for Leeds, I requested some intriguing facts to keep me entertained. The Twitterers delivered. I was informed by kateigray that the tripe stall in Kirkgate market was the first on the internet; by Seven_Arts that Jimmy Saville lived in Roundhay Park; and by MatMurray that he once saw a woman fall over in the Leeds City Markets, after which a nearby dog tried to mount her.  Not all trivia is created equal.

Then I was there, posing like a hopeless tourist in front of the station. And I was hungry. The mob roared loudly, and there seemed a near-unanimous recommendation. According to BigLittleThings, LeedsGrub, and tenderbranston, the best sarnie in town was to be found at Pickles & Potter. It seemed dangerous to ignore the sandwich advice of anyone who traded as 'tenderbranston', so I duly plodded into the town centre and joined a queue stretching out of the door and into the Queens Arcade - this was clearly a popular choice. Inside, they made me a thing of beauty: slices of red-centred beef joined in gastronomic matrimony with a hunk of smoked cheese, a wholegrain bap, and some kind of marmalade. A very good start indeed.

Next up, I requested some cultural tips ... a wide remit that was answered by scores of tips. I was most intrigued by Marc_Leeds' suggestion of a "forty-part motet" at Opera North in the Grand Theatre. The installation is housed in an assembly room on the upper levels of the Grade II-listed Grand Theatre on New Briggate, and comprises 40 audio speakers arranged around the room, each playing an individual part of Thomas Tallis' Spem in Alium. The effect was extraordinary. In pale midday light filtered by stained-glass windows on all sides, people were drifting in and out,  settling on benches equidistant from all 40 speakers, and closing their eyes to listen. I joined them, and - quite literally - became surrounded by music. Have a listen for yourself below.

I needed to refuel, and took the advice of amandeep86 and loveleedsmore by nipping to the Opposite Cafe stand in the Victoria Arcade, where a nifty barista made me a coffee topped with a beautiful swirling foam motif. It powered me onwards, to the marvellous tiled hall of the Leeds Art Gallery, as recommended by djdavedanger and leedslibraries, who had tweeted at me from their offices inside the building.

Having tasted the cultural offerings of a couple of Leeds blockbusters, I wanted something a little off-grid. Luluartist came up with the goods, directing me to Project Space Leeds, a fascinating venue on the ground floor of a newly-built block on the banks of the canals south of the train station. Inside the industrial, high-ceilinged space, the work of local artists was displayed on sparse walls - Matthew Shelton's piece was a collage of drawings on pieces of paper found scattered across the city, including certificates of achievement, shopping lists, and ASBOs. Inventive.

It was Friday, and it was 5pm. I had little choice but to go to the pub. Tonypreece directed me to Whitelocks, the oldest pub in Leeds, first licenced in 1715. It took me half an hour to find it. The pub is hidden down a tiny alley leading off Briggate, accessed by a blink-and-you'll-miss-it gap in between a Carphone Warehouse and a branch of Northern Rock. Once located, under a illuminated lantern and a fug of cigarette smoke wafting from the smokers congregated outside, it was superb; a nostalgic ye olde pub of polished brass pumps, stained glass and a cacophony of post-work chatter.

Onwards. More pubs. Jccgardner, lindseyhampton and steererscott aided my crawl, pointing me towards The North Bar, home to a creative crowd and more beers than you could shake a drunkard at. I opted for a delicious pint of Roosters, brewed just north of the city in Knaresborough, before moving on to my next stop. Mostly due to its name, and Talullah and guyatkinson's recommendation, I headed to trendy bar A Nation of Shopkeepers, where the stringent door policy refused entry to those wearing sportswear, pirates, fancy dress, large groups, jefforys (anyone?), and grumpy faces. A largely student crowd were largely drunk, crammed on to leather sofas under arty projections as electro music beeped around the room.

My stomach needed lining, and foodiesarah and ecalpemosgreen recommended Nash's as the finest fish and chips in the city ... perfect. A giant lump of cod coated in thick batter and pillowed by chunky chips basted in salt and vinegar. Yes and more yes.

Fuelled by delicious carbs and salty fat, I headed for Headingley for my final stop of the day. Tips had been flying in about the Brudenell Social Club since the TwiTrip was announced - one tipster, djthedutchess, described it as a "gorgeous, shabby, ubercool ex working men's club in Hyde Park". The band playing that night, The Eureka Machines, had noticed the Twitter noise, and invited me along, too, bless their little punk rock socks. The venue was superb; on a suburban backstreet in the Hyde Park area, where a community pub hosts live music in a musty low-ceilinged side room. I also managed to snap my favourite photo of the day just outside, as an immaculately-Mohawked local loitered near the entrance.

And the Eureka Machines did the business, blasting out punk to an adoring local crowd as front man Chris Catalyst cracked jokes in between songs. Their final number even came with a wonderfully soppy intro that you can treat your ears to here:

From baroque polyphony in a Grade II-listed building to a punk gig in an old working men's club ... another end to another excellent TwiTrip. Thanks for all your help.

• Benji stayed at the Quebecs Hotel (doubles £89 per night including breakfast and VAT; +44 (0)113 244 8989; theetoncollection.com/quebecs), as recommended by LoveLeedsMore and tonypreece, which has double rooms from £89 B&B. East Coast's trains operate direct up to every half hour between London and Leeds. Advance returns, booked online, start from £26 Standard Class or £94 First Class. Times and fares also on 08457 225225 or by visiting any staffed station

• All photographs by Benji Lanyado


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The Rolex Learning Centre, Lausanne | Architecture

February 21st, 2010

Our new critic admires the Japanese precision and flow of a spectacular, otherwordly campus building in Switzerland

I am mesmerised. As far as I can see, in every direction, there are undulations, clad in grey carpet, glass, white metal, fragmentary views of a nondescript beyond. Everything is flow, without doors or steps, and other people appear as silhouettes on the many internal horizons that the building creates. It is like some filmic vision of the afterlife, possibly 1960s vintage. Except that here the eternal is calibrated by frequent, identical, impeccably precise Rolex clocks.

You can see the undulations as hills, perhaps a reference to the nearby Alps, and a representative of the architects describes the composition as "musical". So the hills are alive, I think irreverently and irrelevantly, with the sound of music.

At which point Kazuyo Sejima descends a slope. She is slight and poised, dressed with playful elegance in a ruched black skirt, and is not really much like Julie Andrews.

Sejima is one half of Sanaa, a Japanese practice that is the latest recruit to the pantheon of Rems, Zahas, Gehrys and Herzogs, that is to say the band of architects who by some global critical consensus are considered the best in the world, and who are invited to compete against each other for the design of museums, concert halls and other cultural buildings in three or four continents. The mesmerising building is the £65m Rolex Learning Centre in the Ecole Polytechnique Fédérale de Lausanne (EPFL). It is their biggest and most spectacular work to date.

It can only be a matter of time before the Pritzker prize, the architectural Nobel worth $100,000 (£64,000) to the winner, is sent Sanaa's way. Last year they designed the Serpentine Gallery's annual pavilion. This year Sejima has been invited to direct the Venice Architecture Biennale, whose president has described her, in terms that employ a curious sense of gender, as "one of the new masters of the new millennium".

The interesting thing about the 54-year-old Sejima and her more pugnacious partner, Ryue Nishizawa, who is a decade younger, is that they are elusive. They have no manifesto or house style or signature: yes, they mostly use white metal, concrete and glass, but so do many other architects. They work ferociously hard: I have visited their Tokyo office at 9pm on a Saturday and seen their grey-faced staff gearing up for many hours' work ahead. People use words about them such as "strong" and "brave", and for Sejima to succeed in the masculine world of Japanese architecture she could be little else. But this work and courage is in the service of something undefined.

They are most comfortable when talking about their work. The Rolex Learning Centre is a new heart for a campus of 7,000 students and 4,000 research and academic staff, and includes a library, offices, bookshop, cafe, restaurant, laboratories, a 600-seat auditorium and a branch of Credit Suisse bank. Sanaa's big idea is to make it into "one huge big room", a 10,000 square metre territory where corridors are abolished and enclosures minimal.

"The main aim is to make a space for people to stay together," says Sejima, "but where you can also have some privacy." The design reflects their idea of "softening boundaries". She opposes "programmes that say a room is a place to learn and a corridor is a place to relax. I do not think that is a way to learn. Sometimes, activities become continuous. You might have a coffee outside the classroom and change your opinion."

The role of architecture is to suggest ways to use the space, rather than to prescribe. Nishizawa pushes the analogy with landscape: "When people find valleys, they tend to settle there and build villages. When they find a hill, they like to build a beautiful cafe on the hill. When they find slopes, they cover them in terraces." In the same way, they think their artificial hills will prompt different kinds of occupation: "We hope students can find nice places for themselves."

What they have come up with in Lausanne is the work of an age of smoothness and flow. It is a place without the darkness of old libraries, a place where abundant knowledge can be accessed without friction or fear. If you could live inside an iPad it would look something like this. It is a playground, a hippie utopia adapted for future masters of a technological universe – for the college it serves trains people to make ever more brilliant software, or watches, or medical procedures, in the future. This is why the centre's sponsor, Rolex, is interested in imprinting its brand. It means that it can acquire the best students for itself.

The building is also an alternative reality in an area of the world that specialises in such things. Underground, not far away, Cern's Large Hadron Collider is applying colossal power to the pursuit of the esoteric. The International Olympic Committee, with its idealised view of world harmony, is based in Lausanne. The Blue Brain Project, which is constructing a computer simulation of the mammalian brain, is being run by the EPFL's Brain and Mind Institute. Inside the learning centre you feel as if familiar things – hills, valleys, sky, inside, outside, natural, artificial – have been rearranged in a strange and wondrous way.

It verges on the spooky and there are also times when more mundane reality impinges in awkward ways. Sanaa and local authorities didn't see eye to eye on the best ways to achieve disabled access, with the result that some awkward ramps intrude on the flow, along with raised strips to help blind people find fire exits. Prosaic facts of construction, like curves that are a bit lumpy, get in the way.

But it is still an astonishing place. It is also a place which, for all its otherworldliness, reinstates your sense of yourself. The slopes, like real hills, require you to exercise your body. The point of the building is the importance of physical rather than virtual proximity. When pressed, Sanaa eventually come up with the elusive thing for which they fight so hard: "Our focus is always to find different relationships." It sounds flat and yet its realisation in the learning centre is anything but.


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Horace Walpole and Strawberry Hill

February 20th, 2010

It was the most famous house in Georgian England, but for some it was a sham and an architectural failure. Amanda Vickery considers its eccentric creator Horace Walpole

If you are an aficionado of architecture, you will know Horace Walpole as the creator of Strawberry Hill (1747-90), in Twickenham, west London, a flamboyant experiment in Gothic revival, forerunner of all those Victorian town halls, churches and stations which define our townscapes. You may also remember him as the author of The Castle of Otranto (1764), the first gothic novel, initiating a spooky literary genre still going strong.

Connoisseurs of Georgian culture recognise the voluble Walpole as a catty commentator on fashionable society. With 48 volumes of his correspondence in print, historians can rely on him for a gossipy opinion on most topics from adultery and chandeliers to wigs and Whigs. Hardly a party was thrown without Walpole on the sidelines taking sly notes for the amusement of posterity.

A new exhibition at the Victoria & Albert museum in London throws the spotlight on the peripheral observer and showcases the peculiarity of his taste. It restages Walpole's eclectic ­collection and evokes the dense ­interiors of his summer retreat, Strawberry Hill, as a curtain raiser for the reopening this autumn of the freshly restored house itself.

According to Michael Snodin, ­curator of the exhibition, Walpole "as a lively and incisive commentator shaped the way we see 18th-century politics and society. As the most ­important collector of his time he created a form of thematised historical display which prefigured modern ­museums. And Strawberry Hill was the most influential building of the early Gothic revival."

Walpole (1717-97) was the youngest son of Sir Robert Walpole, the first prime minister, and Catherine Shorter, daughter of a timber merchant. His parents were estranged even before his birth, the young Walpole remaining with his adored mother in the London house on Arlington Street in Piccadilly, avoiding Houghton – the Norfolk palace raised by his father as a monument to power.

After a conventional education (Eton and Cambridge topped off with the grand tour), Walpole became MP for Callington in 1743, where he never set foot. Effete and feeble, he bore little resemblance to his hearty father. Still he remained loyal to Whig politics and accepted sinecures worth £2,000 a year, bankrolling his "career" as a connoisseur and gentleman of leisure.

To us, Walpole appears decidedly peculiar – etiolated, fastidious and affected – and even in his own times he was considered singular. The writer Letitia Hawkins remembered a pallid aesthete tripping everywhere on his toes. "His figure was not merely tall, but more properly long and slender to excess: his complexion and particularly his hands of a most unhealthy paleness . . . he always entered a room in that style of affected delicacy, which fashion had then made almost natural . . . knees bent and feet on tip toe as if afraid of a wet floor."

Though Walpole had a penchant for the company of old ladies and un­marriageable or disgraced noblewomen, he evaded matrimony, remaining to his death aged 79 what used to be called a confirmed bachelor. Instead he drew about him a collection of highly cultured "dear friends"– men of sensitive taste but lesser background, who shared his obsessions. Walpole had an especially fraught and jealous relationship with Thomas Gray, of the famous "Elegy Written in a Country Churchyard", whom he met at Eton and took with him on his European tour.

Was Walpole gay? Is Strawberry Hill the manifestation of a gay aesthetic? The questions linger, even though searching for something akin to a ­modern homosexual identity is fruitless. Homosexual acts were criminal – sodomy was a capital offence – but virile men were known to take lovers of both sexes, while effeminate manners were seen as a Frenchified heterosexual weakness.

Walpole's biographers have often considered him effeminate and asexual, or at most passively homosexual. George Haggerty ponders the mystery again in the collection of essays that accompanies the exhibition. Walpole and his close male friends "did not identify themselves and were not identified by their contemporaries as sodomites, although several of them were known to feel desire for members of their own sex". Walpole's life-long correspondent, the Florentine expatriate Sir Horace Mann, was labelled a "finger-twirler" by the diarist and social commentator Hester Lynch Piozzi.

A romantic and erotic camaraderie is detectable among the aesthetes, archly expressed in interior decoration and antiquarianism. Anachronistically, but plausibly, Haggerty sees a camp sensibility at work. Strawberry Hill was to be the playground of affectation, a stage set on which Walpole performed his life, and an irresistible resort for his special friends.

Strawberry Hill was in fashionable Twickenham, a two-hour carriage drive from London, but enjoying some rays of royal glamour from nearby Richmond Palace and Hampton Court. The bosky Thameside bristled with the stately dowagers Walpole so admired, while the illustrious poet Alexander Pope had lived less than a mile away.

In 1747, Walpole leased a nondescript suburban house (built 1698) from Mrs Chevenix, a famous seller of trinkets. "It is a little plaything that I got out of Mrs Chevenix's shop and is the prettiest bauble you ever saw." In modern terms, the house is palatial, but by the standards of Georgian magnificence it was dinky.

"Lord God! Jesus! What a house!" cried Lady Townsend on an early visit. "It is just such a house as the parson's where the children lie at the end of the bed." As the second home of a fashionable gentleman who had a thoroughly classical headquarters in London, it was free from the rules governing the design of houses in town. Walpole set about Gothicising and extending, transforming the villa into "a gingerbread castle", "a Gothic mousetrap", a "paper house". He likened his adventure to that of Lord Burlington's pioneering of the neo-­Palladian in miniature at nearby Chiswick House: "As my castle is so diminutive, I give myself a Burlington air and say that as Chiswick is a model of Grecian ­architecture, Strawberry Hill is to be so of Gothic."

Walpole dated his interest in the Gothic from seeing King's College chapel as an undergraduate at Cambridge, constructed when "Art and Palladio had not reached the land nor methodised the Vandal builder's hand". He was hardly the first to pursue an antiquarian interest in British history or to admire the melancholy dignity of old cathedrals. The Gothic was seen as one decorative idiom among several, suited to informal rooms and garden structures. There was already a pseudo-Gothic summer house in Vauxhall pleasure gardens.

Plenty of nobles lived in crumbling houses, finding romance in heraldry and ancestry, old tapestry and stained glass. Gothic was a ready decorative choice for private chapels, especially for Catholics anxious to assert the continuity of the old religion. It also appealed to women with a strong sense of dynasty. The widow Lady Oxford began a fan-vaulted dining room at Welbeck Abbey in 1742, while Lady Pomfret built a castle-style house on Arlington Street in London (Walpole's own road) in the late 1750s.

Pretentious as he was, Walpole did not claim to have revived the medieval single-handed. He wrote to Mann in Italy for "any fragments of old painted glass, arms or anything", reassuring him of "the liberty of taste into which we are all struck". With papier-mâché friezes, Gothic-themed wallpaper, fireplaces copied from medieval tombs, a Holbein chamber evoking the court of Henry VIII, Dutch blue and white tiles on the floor, and modern oil paintings, china and carpets throughout, Strawberry Hill was hardly a faithful recreation of a medieval manor. Walpole wanted theatrical effect, atmosphere and "gloomth", not a time capsule. ­"Visions you know have always been my pasture . . . Old castles, old pictures, old histories and the babble of old ­people make one live back into centuries that cannot disappoint one."

The Gothic era he plundered seemed to encompass all the centuries before Inigo Jones (who transplanted the principles of Italian renaissance architecture under the patronage of Charles I). Any period from the dark ages to the Jacobean was ripe for plagiarism.

He made no doctrinaire claims. "I do not mean to defend by argument a small capricious house. It was built to please my own taste, and in some degree to please my own visions." Ever delicate, he admitted, "In Truth I do not mean to make my house so Gothic as to exclude convenience and modern refinements in luxury."

Teased by Mann as to whether the garden had to be medieval to match, he ruled "Gothic is merely architecture and as one has a satisfaction in imprinting the gloomth of abbeys and cathedrals on one's house, so one's garden on the contrary is to be­ ­nothing but riant [cheerful] and the gaiety of nature." But the garden still had to be picturesque. After a lecture on the ideal effect of the trees, the local ­nurseryman sighed: "Yes sir, I understand, you would have them hang down ­poetical."

Strawberry Hill was a confection, a mock-castle of a fake dynasty complete with a reproduction baronial hall, flourishing the arms and images of putative crusader ancestors on the ceiling. Through his mother, Walpole claimed descent from Cadwallader of Wales. The house became a museum to Walpole's expanding collection of art and relics, such as Queen Bertha's comb and the hair of Mary Tudor in a locket, though he was "outbid for ­Oliver Cromwell's night cap".

Snodin insists on Walpole's originality as a collector. He merged two pre-existing but distinct traditions – that of the virtuoso connoisseur seduced by art of all sorts, but also the antiquarian fascinated by historically significant objects (such as the spur King William drove into the flank of his horse Sorrel at the Battle of the Boyne). By 1797, Walpole had amassed at least 4,000 objects, not including scores of prints, drawings and books. The only things Walpole didn't collect were natural specimens and scientific instruments.

The diversity of Walpole's museum is recreated in the V&A exhibition, from 16th-century miniatures and sumptuous Reynolds portraits to Cardinal Wolsey's red hat. Which are Snodin's favourites? "For sheer glamour it has to be the gilded armour of Francis I, but one of the most curious objects is the black obsidian mirror used by the Elizabethan necromancer Dr John Dee to call up spirits, though Walpole didn't realise that it was originally used by the Aztecs in the human sacrificial rituals of their 'god of the smoking mirror'. We are still looking for some of Walpole's most famous objects, such as the jewelled dagger of Henry VIII."

Walpole wanted his objects to be ­admired. He gave personal tours to posh visitors, but left his housekeeper to herd the hoi polloi, for a guinea a tour. "'Tis the most amusing house I was ever in," remarked Lady Mary Coke, "so many pictures and things to help one to ideas when one wants a fresh collection; entertainment without company."

Walpole even produced a guidebook on his own printing press to initiate the cognoscenti, though inevitably he tired of traffic. "I keep an inn, the sign the Gothic castle," he moaned. "Never build yourself a house between London and Hampton Court. Everyone will live in it but you."

He introduced an advance booking system: "Every ticket will admit the Company between the hours of 12 and 3 before dinner. The house will never be shown after dinner nor at all but from the first of May to the first of ­October." And a final proviso: "They who have tickets are desired not to bring children."

Walpole was aggrieved to discover that visitors love to touch. "Two ­companies have been to see my house last week and one of the parties, as vulgar people always see with the ends of their fingers, had broken the end of my invaluable eagle's bill, and to ­conceal their mischief, had pocketed the piece."

At his death in 1797, the house passed to his cousin's unmarried daughter, Lady Anne Seymour Damer, a celebrated sculptor, and then to the Waldegraves, the family of his great niece. In 1842 the contents were sold off in the auction of the century, most never again seen together until now. (There was a small exhibition in 1980 with no international loans.)

Thanks to Walpole's publicity, Strawberry Hill was perhaps the most famous house in Georgian England, and inevitably fuelled voguish medievalism. But for Victorian purists such as Pugin, it was a sham. For modernists, it was an architectural failure of ghastly influence. BS Allen's Tides in Taste (1937) concluded that "reluctantly but inevitably one is reminded of the flocks of flimsy, starved houses that have sprung up since the war".

Wherever you stand on mock-Gothic, Strawberry Hill delivers un­rivalled access to both ideas and design. It is an exceptionally rich document – so rarely do original house, perspective views, objects, commentary and letters all survive.

For the architectural historian Charles Saumarez Smith, the house is important "not just as an oddity, much visited and admired, but because it was a presage of the way interiors would be used in the future, as a conscious instrument of personal expression, exploiting history to evoke a particular mood: Strawberry Hill was to become a private castle, an escape from time, a place of retreat."

Snodin agrees. "Walpole's cultural legacy was to pioneer a kind of imaginative self–expression in building, furnishing and collecting which still inspires us today. I suppose one of the take-home messages of the exhibition is: why not try it yourself?"

Horace Walpole's Strawberry Hill is at the Victoria & Albert Museum, London SW7 (020 7942 2000), from 6 March to 4 July. www.vam.ac.uk


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Haiti and the demands of disaster-zone architecture

February 15th, 2010

Last month's earthquake in Haiti left two million people homeless. As the colossal reconstruction effort begins, Steve Rose talks to the architects who are transforming disaster zones around the world

Most people witnessing the devastation in Haiti have felt ­powerless to help, but not architects. Since the earthquake on 12 January, some 350 British architects have volunteered their services to ­Article 25, the UK's leading architectural aid charity. There has been a ­similar ­response in the US: design ­charity ­Architecture For Humanity (AFH) had 600 enquiries a day in the week after the disaster. Obviously, there is a­ ­colossal job of reconstruction to be done. Roughly one third of the capital, Port-au-Prince, has been ­destroyed, and some 2 million people have been made homeless.

For now, there are more immediate concerns: treating the wounded, getting in supplies, restoring sanitation, and grieving for the dead. "Now would be exactly the wrong time to pitch up in Haiti," Robin Cross, ­Article 25's director of projects, tells me. "You would simply be another burden on a very strained ­infrastructure." Kate Stohr, co-founder of AFH, agrees. "You don't go in and talk about building new schools when people are grieving. The first reconstruction doesn't typically start for six to nine months, and there will be a period of three to five years where we'll be ­actively working and need volunteers. "

In the broader sense, though, there is plenty that architects can and are ­doing. Natural and man-made disasters have created similar circumstances around the world, where homes, schools, hospitals, and other structures are needed quickly and cheaply. In addition, according to the UN, one in seven people now live in slum ­conditions. One of its millennium ­development goals is to improve the lives of 100 million slum dwellers by 2015. These are real, urgent problems for architects to solve.

As an example of what could be done in Haiti, Cross points to Article 25's work in northern Pakistan. After the 2005 earthquake destroyed the homes of some 3.5 million people, the charity, in partnership with Muslim Aid, has been building seismic-resistant homes there for those not able to do so themselves. These houses are a variation on a local design, except with a new lightweight structural frame made up of small lengths of timber. They don't look very different from the outside – low, single-storey dwellings rendered in mud and stone – but in the event of another earthquake, they will flex rather than collapse entirely. The houses are also secured to concrete plinths with steel straps, so they are less likely to be shaken off the hillsides, as happened in 2005. It's simple, low-tech stuff, and necessarily so, says Cross. "There is a place for ­innovation, but it's often best to adopt the materials and skills found locally. We've built about 100 houses there so far, but we've also used each one of them as an exercise in training people. It's ­important that when we leave we haven't just left buildings behind – we've also left a community with an increased capacity to rebuild itself."

Much of this architecture has a no-nonsense honesty and stripped down-functionalism that would please the less-is-more forefathers of the modern movement. It also makes much of what we do in the west look frivolous and ­extravagant by comparison. AFH published a book of such projects four years ago, Design Like You Give A Damn; there is now so much of this sort of humanitarian design going on, they are ­working on a sequel. (The same year, AFH also formed openarchitecturenetwork.org, a website where architects can publish their designs for peer review and free use by anyone who sees fit. On its homepage, they have adapted Le Corbusier's famous maxim ­"architecture or revolution": "We don't need to choose between ­architecture or revolution. What we need is an ­architectural revolution."

If this is a revolution, it is one that could only have happened in the information age. AFH was founded in 1999 by Stohr and Cameron Sinclair, two San Francisco-based architects. Witnessing returning refugees in Kosovo, they ­decided to hold an open online design competition for temporary housing and received hundreds of entries from around the world. From there, they spread into work in sub-Saharan Africa, and disaster zones including the aftermath of Hurricane Katrina and the Indian Ocean tsunami. The organisation now has 80 chapters in 25 countries, and a network of 40,000 professionals. "It's very life-affirming for architects," says Stohr. "On these projects, when you finish, you get a hug from the client."

Another consequence of the ­information age is the emergence of the celebrity-driven development project. In Haiti alone, AFH is now working with Ben Stiller's charity Stiller Strong (motto: "Stealing great ideas from other people's charities to build a school in Haiti"). Stiller founded his ­organisation before the earthquake, and is now roping in friends such as Robert de Niro and Owen Wilson to raise funds. AFH are also working with singer Shakira, whose Barefoot Foundation plans to build schools in Haiti. Haitian-born rapper Wyclef Jean, meanwhile, has his Yéle Foundation, which has been involved in a number of projects, including the construction of a new music studio in Cité Soleil.

The pioneer of the celebrity development field would probably be Brad Pitt and his Make It Right Foundation. The actor, an architecture enthusiast, visited New Orleans two years after Hurricane Katrina and – frustrated by the slow pace of reconstruction – ­recruited 21 architects to design new houses for the devastated Lower 9th ward, including Frank Gehry, David Adjaye, Thom Mayne and Shigeru Ban. This has resulted in an assortment of funky housing types that are affordable, storm-resistant (they are raised on stilts) and green, with features such as solar panels and rainwater harvesting. Pitt's charity has been criticised, though, for transplanting alien architecture into a context where it wasn't called for. One non-Make It Right resident, of a standard single-storey house, ­complained of feeling "like a Mini Cooper boxed in by SUVs". Just 15 houses have been completed so far, ­although 150 are under construction.

Similar concerns have been raised about the reconstruction of Haiti. "It would be easy to regard this catastrophe as some kind of blank slate on which an architect can come along and define a new masterplan, but you need to treat the subject with much more ­caution," says Cross. "Although the physical infrastructure has been badly destroyed, there are remaining social and economic infrastructures. You need to pick up those threads and build a new Haiti around them."

Architect John McAslan agrees. He returned from Haiti recently, ­having been involved in development work there before the earthquake, particularly on architectural conservation projects. One thing that rarely gets mentioned is Haiti's outstanding ­historic architecture, including its US Victorian-influenced "gingerbread" houses – tall, ornate constructions decked with towers, turrets, balconies. "One of my great fears is that some of the damaged historical buildings that survived will be demolished," says McAslan. "You can't be too concerned about the heritage when there are lives to be saved, but I think one needs to hold onto the past."

Like many practices, McAslan's puts a portion of its resources towards pro bono work around the world. Alongside projects like London's new King's Cross station, the firm has won acclaim for low-tech work such as prototype schools in Malawi, in cooperation with Bill Clinton's development charity. Made of local brick and timber, these smart, simple buildings are designed to optimise natural cooling, harvest rainwater and do without electric lighting – perfect for Malawi's remote villages. McAslan could well be doing similar work in Haiti soon; Clinton's initiative has again enlisted him to help with the ­rebuilding effort.

"What's needed most urgently in Haiti is coordination," says McAslan. "If there isn't any, there's a real danger a lot of effort and good intentions will be wasted." The rainy season is fast approaching, and with it the threat of sanitation-related diseases, not to mention hurricanes. In 2008 alone, Haiti was hit by four hurricanes, and the temporary shelters in which many Haitians now live will not stand up to another one. "We need coordination, we need short-term preparedness for the rainy season, and we need a long-term commitment to reconstruction."

With such pressing survival issues, is it appropriate to be thinking about architectural revolutions or questions of aesthetics? Yes, says Stohr. "Aesthetics are terribly important. Imagine you're a child and you've lost everything and lived in tents for five years. That's half your life. It is actually really important after a disaster to build back beautifully. It brings back a sense of normalcy. When all those beloved landmarks are gone, if you replace them with things that don't have cultural meaning and aren't, frankly, beautiful, you're not ­rebuilding that community."


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