Saturday, November 14, 2009

You are not about to witness the strength of street knowledge


Me on the significance of Ice Cube's near parallel career as architectural draughtsman and writer of NWA's best stuff. Oh yes. A somewhat different tack to the Fantastic Journal's take on Dr Dre and suburbia, which - honest guv - didn't occur to me at all when writing it, but popped into my head about five minutes ago while I was trying to think of a clever headline. Nonetheless, as post-NWA solo albums gom I'll take The Predator's insurrectionary fire over the smoove nihilism of The Chronic, irrespective of the undeniable leftist-guilt-ridden pleasures of the latter.

I won't be talking about any of this when I appear at Signs of Revolt, an event at the Truman Brewery in Shoreditch, celebrating ten years of the anti-capitalist movement - but I will be talking about neoliberal architecture in London, so expect lots of pictures and some swipes at the soon-to-be late and lamented Urban Task Force, and the general 'don't give me what I want, because that's not it' tenor of the last ten years of London architecture, the decidedly pyrrhic victories of attenuated neo-modernism and privately-patrolled 'public' piazzas. Sunday, 2pm. Timetable here.

16 Comments:

Blogger Murphy said...

Gosh! I hope you've got your pseudeleuze hat ready for this (although if one is ever going to find a true deleuzian, it will be at an event like this i suppose).

A friend of mine wrote extensively about 'friendly vandals' - this whole Space Hijackers / Guerilla Gardners scene. There was a great anecdote about how at one of their meetings, the actual 'activists' were thoroughly outnumbered by people who had come along to study them for academic purposes...

10:46 am  
Blogger Lang Rabbie said...

The "bristling fury" of the Lloyd's building. Hmmm... but what was it more furious at - the portland stone conservatism of the old commmercial city or the formal composition of transatlantic modernism of the former Commercial Union and P&O towers that used to stand opposite

IIRC Owen Luder's "Sod You" comment was actually about Rogers' design for the National Gallery extension.

12:09 pm  
Blogger owen hatherley said...

It was, yes - but it was the nearest equivalent I could think of to Ice Cube's 'if you don't like how I'm living then fuck you' from the architectural fraternity.

3:32 pm  
Blogger roger said...

Hey, here's some fodder for your talk regarding the neo-liberal comfort-dome
http://www.washingtonmonthly.com/features/2009/0911.malanowski.html

Headline: Big Bother
How a million surveillance cameras in London are proving George Orwell wrong

8:59 pm  
Blogger roger said...

I should have quoted some of the sweet, sweet meat:

"At Canary Wharf, the sprawling, shiny, pulsating business complex on the south bank of the Thames, the cameras are smaller, subtler, architecturally integrated into the design but nonetheless visible, reassuringly present but not so obvious as to disrupt the money making. But in poorer East London, you have to look long and hard to see more than the humble traffic cam. And one’s reactions vary with the coverage: in the face of a massive deployment of cameras in a bustling, prosperous part of town, one feels slightly crimped by the awareness of being watched. But when one is a stranger in a strange place where the environment is a bit seedy and there are no cameras, one feels just a little bit more alone."

And don't we know who that "one" is.

9:03 pm  
Blogger Kosmograd said...

Yes, the "bristling fury" of Lloyds jumped out at me too. While Rogers might have fetishised a high-tech machine aesthetic, he still ultimately built an ostentatious temple to capital. I see no fury or rebellion in it - Rogers is entirely compliant with the worldview of his paymasters. Visually it may rub up against its neighbours in an uncompromising way, but beneath the surface it still cosies up to the logic of the City.

10:06 am  
Blogger owen hatherley said...

Architecturally, not politically. I'm certainly not suggesting its fury was directed at the bankers, but it does rub up against its neighbours in a decidedly uncompromising way. Furiously, if not rebelliously - and with an (architectural) ferocity and power which his later, toned-down, nicer, New Labour buildings simply don't have. Similarly, the fury of 'Gangsta Gangsta' doesn't prevent it being one of the foundations of gangsta neoliberalism...

Having said that, I don't think Lloyds has some suppressed but immanent political critique - although it would be fun to make this argument, and I hope someone else does...

5:14 pm  
Anonymous Anonymous said...

I love this-it made me pull out my old Ice Cube discs and, as an out of work architect who is tired off all the firms that only do tasteful downtown lofts, fashion showrooms, corporate branding projects using the latest in CNC technology, etc.-I have always wondered about the latent anger that is barely suppressed among young architects. But it costs so much to build anything, I am dubious about how possible it is to anything that goes against the status quo, especially now. At least in a substantial way.

And you mentioned The Predator too much-everyone knows that Ice Cube's unrivalled run ended with Death Certificate-the previous record. The Predator was the beginning of his relative decline, even though my love for the man is undying.

8:00 pm  
Blogger owen hatherley said...

A record with 'When Will They Shoot', 'We Had to Tear This Muthafucka up', 'Say Hi to the Bad Guy' and 'It Was A Good Day' on it is only a very partial marker of decline. Cube's self-production on 'When Will They Shoot' is especially staggering.

(otherwise, thanks for your kind words!)

9:42 pm  
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