In praise of pastiche An Essay by Samuel Hughes www.worksinprogress.co So: it is perfectly true that contemporary traditional architecture tends to be structurally dishonest. But traditional architecture has always tended to be structurally dishonest. So if this is what makes contemporary traditional architecture pastiche, then most traditional architecture has been pastiche since the faux timbering of the Parthenon. Contemporary traditional architects have most of the great builders of our history as their companions in guilt. architecturetraditionmaterial
Against the survival of the prettiest An Essay by Samuel Hughes www.worksinprogress.co What has emerged here is that although survivorship bias probably does contribute to that to some extent, it is not the main explanation: premodern buildings may on average have been a bit less beautiful than those that have survived, but they still seem to have been ugly far less often than recent buildings are. The survivorship theory sought to explain the apparent rise of ugliness in terms of a bias in the sample of buildings we are observing. There is another kind of bias theory, which seeks to explain it in terms of a bias in the observer, saying for instance that every generation is disposed to find recent buildings uglier than older ones, and that this is why recent buildings seem so to us. This is a complex and interesting idea, which I am not going to assess on this occasion. Suppose, though, that our eyes are to be trusted. If this is so, strange and eerie truths rise before us: that ugly buildings were once rare, that the ‘uglification of the world’ is real and that it is happening all around us. urbanismarchitecturebeauty
Ideas for linear cities Arturo Soria y Mata, who proposed a linear streetcar suburb for Madrid in 1882 and managed to build something like three miles’ worth of an intended thirty. Likewise, the project by Edgar Chambless for Roadtown, published in 1910, depicted an infinitely long, two-room-wide building atop three levels of underground rail lines for express, local, and freight traffic. In the late 1920s, N. A. Miliutin proposed a Soviet Union–spanning linear plan that—following Soria y Mata’s rhetoric—would have solved the old Marxian chestnut of city/country contradiction at a stroke. Le Corbusier’s Algiers scheme of 1933—a highway-topped fourteen-story building meant to stretch miles along the Mediterranean and house 180,000 people—was surely the most immediate precursor of Rudolph’s “City Corridor.” Michael Sorkin, 20 Minutes in Manhattan The linear city