Strange Harvest
Architecture / Design / Art
StrangeHarvest is written and collated by Sam Jacob.


Anything to Feel Weightless Again: The Cargo Lifter and the Tropical Island Resort



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It's what you might get if you asked a Bond villain to design you a CenterParks: A Tropical Island Resort built in the giant hanger of CargoLifter - the ill-fated German airship of the 1990s. A bright, fake landscape trapped under the hangers' shell like a snow dome without snow.

Actually, even a Bond villain might struggle to create something quite so strange. It is a phenomenon rather than a design, a history not a process. It's the kind of place that happens through the unfolding of a story rather than logic.

Higher Than The Sun

The Cargo Lifter and the Tropical Island Resort might be a love story between two very different characters across the lines of genre, and in spite of the prejudice of function. A Montague CargoLifter to a Capulet Tropical Island.

What strange magnetism draws them together? Why would the flaws of one attract the other so strongly?

Perhaps, deep down in each project lurks the same kind of feeling - a shared romantic desire for escape. CargoLifter, before its collapse, promised escape from geography - a way of moving things around the world cheaply and efficiently. The Tropical Island promises escape from post-industrial Germany to a fantasy destination.

The two incarnations share one un-ignorable element: the hanger. A vast, uninterrupted volume - the largest clear span in the world. It was intended to house the huge airships, though they never materialised. Its scale was enough to convince prospective shareholders to invest. Enough to create a sense of impending event. Enough even to precipitate an unlikely a use as a Tropical Island resort. Enough to charge the erotic coupling of infrastructure and leisure.

The hanger promised so much. Its volume couldn't remain vacant. Like a vacuum, its emptiness exerted external force, sucking in potential content.

Industrial Light and Magic

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Hangers, and other similar industrial structures inherit a complex genealogy. Their recent history has been as muse to various varieties of modern architectural movements: from the Modernism of Le Corbusier, via the techno-utopian vision of Archigram to the corporate precision of Norman Foster. Hangers and their ilk represent an escape through engineering from traditions of architecture. And by escaping traditions of architecture one might slip the ties of social structure, the tedium of bourgeois living, or the unaccountable mess of organic growth.

On the other hand, the sheer volume of space recalls a very different heritage. Its volume is eerie: a deep mystery manufactured by super sized engineering. It's volume is all-encompassing, like a cathedral. It is the kind of space that surrounds you, envelops you, until you could almost believe in some kind of truth.

In extremis, the CargoLifter/Tropical Island story is an architectural parable. Perhaps because of its un-intended, and accidental genesis has left an un-architectural raw burr. Awkwardness, naivety, and gaucheness lend a sharp edge.

To Dream The Impossible Dream

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Perhaps because architecture is in its very nature limited to a specific place, its secret dream is one of escape. Tied to a singular iteration on a patch of the planet, buildings often find themselves fantasising about qualities they will never possess.

Architecture happens at ground level. It is an act of piling components on top of one another. The pile is structurally in compression, pulled towards the centre of the earth by gravity. Its components have all been extracted from the earth's surface: quarried as stones, ores and so on. Architecture then is simply an act of rearranging of the planets surface. The buildings and cities that surround us are exquisite caves. Even on the observation deck of the tallest building we cannot escape the ground.

As buildings became more sophisticated, they began to feel their way into the sky. Think of medieval cathedrals in the flat fields of Northern France or the tracery of gothic architecture. Buildings began to explore the space between ground and sky. Stone was carved into forms that seemed to reverse gravity, as though drawn upwards.

Up Down Turn Around, Please Don't Let Me Touch The Ground

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The medieval conception of up and down was not simply about abstract notions of high and low. It was rich with meaning from the heights of heaven to the depths of hell. Cathedrals express this up/down narrative. They draw your gaze upwards with the spire seeming to be a perspectival vanishing point in the sky. Equally, they compress you further into the ground with their mass: piles of stone exaggerating gravity. They are a promise and a threat, a dramatisation of an epic biblical narrative of verticality.

Gothic architecture explored low and high in elemental terms. Baroque buildings brought a more explicit narrative to this section. Munich's Asamkirche is an18th century building in a very earthly context: a terrace of commercial buildings. In this tiny plot the church beats up a heavy storm with baroque theatrics. Within its 20 meters height, the building takes us through the (biblical) history of the world. From rocks, geology, bones, death, upwards into architecture, then above onto the ceiling painted into a sky where the kingdom of heaven floats above our heads.

These are architectures that explore myths of verticality and place. They are ways of exploring dimensions beyond the boundaries of the building. They are releases, escapes into other impossible worlds.

Space Oddities

In fact, if you are to believe the sci-fi historical theories of Erich von Daniken - the author of 'Chariots of the Gods' - ancient monuments are the abandoned equipment of a race of aliens who visited and populated Earth. Von Daniken re-reads Incan temples as spaceships, the Pyramids as maps of Mars by making huge leaps of faith based upon odd coincidences. If one were to look at cathedrals through his eyes they become stone space ships: Montmartre as a space shuttle. Notre Dame could be some kind of gothic sci fi transformer whose flying buttresses might snap open releasing a floating volume up into a mysterious and mythical sky full of gods, angels and aliens.

Down For You Is Up

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Perhaps a more reasonable theory is that cathedrals were a kind of mental rehearsal for the occupation of the air - an exploration of the idea prior to the fact.

The reality remained unknown until the Montgolfier brothers balloon rose above Paris in 1783. To the assembled crowds, it must have seemed as though the rules of nature were changing, as though the ties that bind us to the surface had been cut. The balloon was brightly coloured and decorated as though it was a piece of architecture: its 37,500 cubic foot envelope made of taffeta coated with varnish was designed and made in collaboration with successful wallpaper manufacturer, Jean Baptiste Réveillon.

Flying technology progressed. 1785 saw the first air crossing of the English Channel in a hydrogen balloon with flapping devices to control its flight that made it look like some kind of strange bloated bat.

By 1852, the first lighter-than-air craft with steering and propulsion systems was flying. Designed by Henri Giffard, its steam-powered propeller gave a range of 17 miles at a top speed of 5mph. Simple balloons became ever more engineered. As they did, they became airships.

Air travel can be seen as an architecture that inhabits air space. Transport mechanisms and devices transformed the occupation of space horizontally and vertically. Ships and airplanes altered our relationship with geography. For example, elevators enabled higher buildings and so allowed us to capture airspace and transforming it into realty. The vectors of height and distance took on new meanings, this time as extensions of state, military and industrial interests.

Harder, Better, Faster, Stronger

These mechanisms fascinated artists and architects of the early twentieth century. Futurists, Vorticists, Constructivists, Cubists, silent movie stars and many others attempted to comprehend and express the increasing acceleration of the world. Architects looked at the new machines, then back at their buildings. They wanted their buildings to become more like machines: like ocean liners, or streamlined as though they themselves were to speed down train tracks. The result was a new aesthetic and language of construction. However, it could be argued that they failed to engage with the profound effect that movement and acceleration precipitated.
Technology altered geography by compressing distance, by weaving threads of connection between distant places.

The twentieth centuries gaze was held by the hypnotising sight of movement like spectators at football match captivated by the arc of a free kick as the ball heads goal wards. Movement itself became a dream.

X Marks the Spot

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But if the modern obsession has been the sensation of movement, earlier interests were in the narrative consequences of movement. Published in 1719, Robinson Crusoe is the first example of a genre that grew out of the context of advancing technologies of travel. Navigation and seafaring technologies allowed European imperial expansion and colonialisation of distant lands. It is within this scenario that the idea of the tropical island becomes significant.

Daniel Defoe's novel establishes the tropical island as a narrative device. A place where civilised western male is pitted against exotic circumstance. Other examples include Treasure Islands 'Skeleton Island' (West Indies), Skull Island in King Kong, (Indian Ocean) or Caprona from the Land that Time Forgot (South Atlantic). It is a narrative that still resonates through Pirates of the Caribbean, Lost and reality TV shows such as Celebrity Love Island.

The Island as a device pulls into sharp focus a set of relationships between man, nature and society. William Goldings 'Lord of the Flies' for example, explores how the civilised behaviour of schoolboys descends into savage chaos. The long running BBC Radio programme 'Desert Island Disks' asks its guests to name eight pieces of music that they would take with them if they were cast away on an island. The island in both these instances is used as a device that strips culture to an essence.

Narratives of tropical islands often reprise an Edenic myth. Unspoilt, natural landscape of immense beauty and resource are cast as the backdrop to some kind of fall. In other cases the Island serves as test of western civilisation against rude nature where any natives are seen as part of the natural resource. These are fables of imperial empire.

If one were to extrapolate the subtext of these stories - themes of empire, military force, conquest, technology against Island backdrops one might find cultural trajectories that find their ultimate conclusion is the testing of atomic weapons on Pacific atolls. Entire islands were wiped clean of nature by a intense blast of civilisation: nature made unnatural in the flash of an atom bomb, in the beautiful plume of a mushroom cloud and the wind of high tech total destruction. The Tropical Island Resort sees an alternative - and significantly more positive - relationship between industrialised engineering and Island myth.

In stories, Tropical Islands work from the outside in: from the coast into an unknown interior. We are always visitors: alien - out of place, dislocated. The sense of lost-ness dislocates them from real geography and moves them toward imaginary geography. Often the geography and meaning of the Island has to be constructed. In place of empirical longitudes and latitudes we find incomplete treasure maps or mysterious messages washed up on the beach in bottles.

The Taste of Paradise

Modern Tropical Island imagery is almost entirely self-absorbed. Just as Robinson Crusoe was really a story about British culture, Island imagery now is employed as a generic shorthand for ideas of luxury, leisure and entertainment. These are the values and aspirations that the Resort calls upon. Tropical Islands now signify a terrain of leisure - a mixture of high-tech pleasure and primitive vernacular authenticity. Paradise lost has been remodelled and re-gained. Sea, beach and sun are no longer resources but pleasure-providers.

The lengthy 18th and 19th century narratives of Tropical Islands have turned into blip-vert images in commercials or holiday brochures. 'Ordeal' as explored in earlier fiction has been replaced by instant, marketable experiences. We see this in event-images such as Bond girl Ursula Andress rising out of the sea. Or in the phenomenon of Tropical beach marriage vows.

Real Tropical islands have become leisure playgrounds that are self regarding, narcissistic, and disengaged from local culture and custom. They are resorts rather than places, dislocated from geography.

Perhaps it is inevitable, given their close relationship to fiction, that Tropical Islands themselves should be manufactured. And that they might occur anywhere. In fact, it is entirely appropriate that one should be built within the infrastructure of a failed engineering project, one whose cultural roots connect to the technological impetus behind European expansionism.

The Stakes are High

The trajectory of the company behind the Tropical Island Resort adds its own interest to the story. Tanjong plc was initially founded as Tanjong Tin Dredging Limited in1926 in England. In 1991 following restructuring, its shares were listed on both the Bursa Malaysia and the London Stock Exchange. The company's activities include running lotteries in Malaysia and Russia, power generation plants, property investment, and the importation, bottling, sale and distribution of liquid petroleum gas in China. From a company whose roots are intertwined with colonial occupation, its international, diverse portfolio of businesses reveals the changing nature of global investment. Ironically, it is perhaps only here, in the electromagnetic flux of global capital that the qualities of liquidity, of freedom of movement that were imagined by medieval stonemasons, the Montgolfier brothers, or Buster Keaton exist. It is here that up and down can be tracked and viewed in infinite detail, where trajectories and directions are modelled in financial forecasting. It is the point where base material becomes abstract and so liberated from earthly constraint. The language of finance uses imagery such as 'float' and 'crash' that reveal a subtext of flight.

So High You Can't Get Over It, So Low You Can't Get Around it

Equally, architecture and landscapes usurp natural geography by manufacturing place. Architecture is a means of attempting to turn ideas, images or sensations into a deep reality. At it's most intense, architecture is a narcotic, hallucinogenic mirage of other places, experiences, ideas. It makes so real that they feel completely authentic. Architecture is always about made up places, about the transformation of a naturally occurring place into something different - turning nature into culture.

Just as Modernist designers confused the machines of travel with the fact of travel, it seems just a likely - or unlikely - that the machinery might be conflated with the effect of travel. Perhaps that is what happened to the hanger. It is as though in the absence of real CargoLifters, the destination would have to come to the hanger. As if the imagination of an expectant traveller leaked from departure lounge reverie into a three dimensional reality.

Together in Electric Dreams

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Dreams of technology are often dreams about nature. Technology is a means of dialogue with our increasingly complex ecology where the distinctions between natural and artificial are blurring. The Hanger/Island resembles an opaque snow dome: an oversized souvenir of a place that doesn't exist. The ultimate conclusion of tourism: a product that you can visit.


/////////////////////////////////////

This essay features in the book 'Making the Impossible Possible'

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The book documents a unique accumulation of superlatives. Light is shed on two business strategies attempting to realise mankind's primordial dreams. The scene is the world's largest self-supporting hall in a small village close to Berlin.

At the end of the 1990s, the firm CargoLifter AG attracted international attention with its vision of constructing the world's largest heavy-lift airship. By building an architecturally outstanding hangar, the company demonstrated pioneering spirit and gave rise to huge media response. After the enterprise failed, the hall was sold to a consortium of Asian firms that then presented the next superlative. The former hangar was converted into the Tropical Islands Dome, Europe's largest indoor tropical paradise.

The authors Gerlinde Schuller (Information Design Studio, Amsterdam) and Claudia Weber (artist, Berlin) compare these two visions on their paths to implementation, while simultaneously putting them in the context of current international events. They use analytical modes of research to uncover the interconnections
between economy, politics, architecture, art, and design.

The resulting book is a multi-faceted contemporary documentation, and at the same time a combination of different genres - cinematic narration, log-book, and experimental test set-up. It consists of a rich collection of photographs taken by amateurs and professionals, together with detailed facts and diagrams.

The documentation is supplemented with text contributions by: Sam Jacob (FAT Ltd., London),
Dingeman Kuilman (Premsela Design Foundation, Amsterdam), Jochen Becker (critic and curator, Berlin) and Prof. Dr. Bernd Kriegesmann (Institute for Applied Innovation Research, Bochum).

16.5 x 23 cm, 136 p., colour, English
215 photos and illustrations
€ 35

ISBN-10: 90-810927-1-5
ISBN-13: 978-90-810927-1-5

Get the book now
http://www.map-one.net/order

About the book
http://www.map-one.net/impossible



Posted by anothersam at January 5, 2007 1:26 PM.

2 Comments

tina engels-schwarzpaul said:

hi sam,

just found this as i am looking for press(freely available)images of tropical islands resort for an article in transformations (transformations.cqu.edu.au/) ...
have been looking at the resort, on and off, for about 18mnths now with a view of making it a research project about iconic architecture in leisure industries and tourism. had no idea you people are working on it, too. and already a book out!! congratulations!

i'm based in new zealand, but will be over for the architecture of flows conference in june (newcastle). i'm very interested in talking to you. would you have an hour to spare over coffee?

also, i would like to reference your article in mine. so, just to make sure: is the essay yours? would the following reference be correct?

Jacob, Sam. Anything to Feel Weightless Again: The Cargo Lifter and the Tropical Island Resort. 2007. StrangeHarvest.com. Available: http://www.strangeharvest.com/mt/archive/read_mes/anything_to_fee_1.php. 12 April 2007.

best wishes

tina

mike said:

How amusing to find LTA cross-referenced by a Handsome Family song about suicide. Lovely interwining.

Leave a comment





Contents:

More Scenes In Cartoon Deserta

Eiffel X-Rays

Beyond: Values and Symptoms

Sub Plan

Shenzhen: Window of the World

White Power

Generic Powerpoint Template: Delivering Bad News

Duplicate Array

The Best New Building In London

Book Review: The Infrastructural City

A Balloon in the Pantheon

Letters From The Pantheon

Henry Moore in Motion

On My Steel Horse I Ride

The Michael Jackson Monument Design Competition

Now Showing: John Baldessari Sings Sol LeWitt

Obscure Design Typologies: Life Guard Chairs

Osama bin Laden Cigarette Lighter: Novelty Products as Congealed Culture

Absurd Car Crashes: A Eulogy for J.G. Ballard

Candy Pistol

Now Showing: Dan Grahams 'Rock My Religion'

This Concrete 'O': On Serotonin, the M25, and the Motorik Picturesque

Church of the Literal Narrative

Philadelphias Floating Architecture

Now Viewing: Married To The Eiffel Tower

Le Corbusiers Image Hoard: Poeme Electronique

Giant American Signs: Original Learning from Las Vegas Footage

Giant Soviet Signs Cut Into Forests

Bricks Melted Into Icicles: Napalm Decorative

C-Labs 'Unfriendly Skies' & 'Bootleg' Volume

2 The Lighthouse: Self Storage & Architectural Hallucinations

Ceci N'Est Pas Une Pipe: Infrastructure as Architectural Subconcious.

Viva Sectional Cinematography!

Now Showing: The Installation of an Irreversible Axis on a Dynamic Timeline

Plug: Junk Jet

Sim Seasons Greetings! The Rise of Neo-Winter

Geography in Bad, Festive Drag.

The Ruins of the Future

High Tech As Steampunk ...

On The Retro Infrastructural

Simulations of Industry: High Tech Architecture and Thatcherism

David Greene: The Big Nothing

From The Factory to the Allotment: Tony Wilson, Urbanist

Koolhaas HouseLife / Gan Eden: The Revenge of Architectural Media

Ruburb-ric: The Ecologies of the Farnsworth House

The Architecture of Divorce

Flagrant Delit: The Movie

Landscape as Clothing

Telly Savalas Looks At Birmingham Redux

Acts of Un-Building: Timelapse Demolitions

Yard Filth: Next Years Hot Look

Stonehenge: A Black Hole At The Heart Of British Architecture

The Popemobile: Mechanised Robes & Motorised Architecture

Tarmac Adam, Tarmac Eden

The Secret Language of Surface

Some Housekeeping

Information Fields: Agriculture as Media

My Bloody Valentine: Sound as Substance

A Cubist Copse: Gehrys Serpentine Pavilion

Olympic Model Protest

Spouting Off: Some Thoughts On The Fountainhead

Form Follows Dysfunction: Bad Construction & The Morality of Detail

Floating Homes

Vintage Tradeshow Surrealism: International Grune Woche

Moving Houses: Buildings In Motion

Desktop Study: The Strange World of Sports Studio Design

Married to the Eiffel Tower: More Objectum Sexuals

60 Years of The Crazy Horse Memorial

Married to the Berlin Wall: "The Best and Sexiest Wall Ever Existed!"

Inflatable Icebergs: Sublimated Guilt Has Never Been So Fun

The Cinderella Effect: Phantom Architectures of Illumination

Two Deaths and a Retirement: The Strange Shape of British Architecture

If London Were Like New York: Antique Schizo-Manhattanism

If London Were Like Venice: Antique Geo-Poetic Speculations and Hydro-Fantasy

41 Hours in an Elevator: The Movie

NASA: Mapping the Moon with Sport

Lemon Squeezy: Design Tendencies after the Juicy Salif

Stadium Seat Mosaics

The Nihilistic Beauty of Weapons Arranged in Patterns

Light Vessel Automata

Dogs: Britains Greatest Design Obsession

Madison Avenue Modern

Detroit Sucks: The Motor Shows Last Gasp

Mies' Grave: Cut Out Model

All You Can Eat

Valentine Machine

The Tools of Re-Geography

Floating in a New Town Sky

Authentic Replicas: Football and the Franchising of Place

Folk Football: Landscape, Space and Abstraction

Haystack House

A Wishing Well with a Fat Up Pipe

The Camoufluers and the Day-Glo Battleship

Pseudoccino: Instant Coffee Foam

Yesterdays Technology, Today

Blown Up: More Inflatable Military Stuff

On Christmas Trees, Folk Forests and Staples Office Supplies

Hampton Courts Shrouded Sculptures

Named Fabric: 20 Sponsored Pieces of Architecture at the New Museum

Form Follows Felony: The Secret Home of the Un-Dead Canoeist.

Architectural Magazines: Paranoid Beliefs, Public Autotheraphy - More on Clip/Stamp/Fold

Little Magazines Seen Today

James Bond Lives Next Door: Suburban Imagery as Industry

The Ghost of Christmas Futurism

Petrified War Machine

Military Deceptions

Chapters for an Imaginary Book About Architecture

Shrouded Plinth - Urban Striptease

In the Night Garden - Surreal Landscape of Nostalgia

Kim Jong II, The Great Architect

Pill Box Picturesque

Un Clear Monument

Place Faking: Instant Heritage for the Thames Gateway

The Marc Bolan Memorial Crash Barrier.

Warped Domesticity

The Nuclear Heritage Coast

Enjoy The Silence: Bose Noise Cancelling Headphones

The Story of O (2)

Telly Savalas Looks At Birmingham

X100: A Design Exercise

How to Plan A New Town

Carpet Bomber

In Search of Britains Vehicular History

Scenes in Cartoon Deserta

Scary Suburbanism: Why Horror is at Home in the Suburbs

Re-Make Re-Model

I Like Your Manifesto, Lets Put it to the Test-o

How to Become a Famous Architect

Northampton - Sci-fi Pop Planning Promotion

Advertising Central Milton Keynes

Baltic Exchanged

Festival of Nostalgia

The Clapham Trainwash

Airports as Music

Test Card Dummies

The Velvet Underground at the Glass House

Duplikate: Kate Moss on the Production Line of Individuality

The Museum that Ate Itself

Hollow Inside: Starbucks Foam and the Rise of Ambiguous Materials

Revisions to the Architecture of Hell

Crufts: Dogs, Design and Aesthetic Genetics

Eos Airlines: Executive Bubbles over the Atlantic

London's Ugliest Buildings

1.51 Miles Of String

Google Earths Vertiginous Mapping

Church of the Ascension and Descension

Reyner Banham Loves Los Angeles

Replica Bombs

The Invisible Bungalow

House / Boat

Reading Lines: Skateboarding and Public Space

Mountain Sculpting

Sint Lucas in BD

Bat House Competition

Old Walton Bridge

Kiruna: The Town That Moved

Spray On Magnetic Defense

Chris Cornish: Prototyping History

The Jubilee Gestalt Vase

The Most Visited Location in the UK

Anything to Feel Weightless Again: The Cargo Lifter and the Tropical Island Resort

'Its beauty will know no season'

2000 Years of Non Stop Nostalgia. Or How Half Timbering Made Me Whole Again.

Inside-out Aldwych

Backpeddling into the Future: The Historical-Futurism of British Architecture

Miss Selfridges' Feeling for Fake Snow. The Oxford St. Lights and Why We Need Artificial Winter

Nelsons Cavern

Foam Gargoyle

New Tory Logo: A Hazy Shade of Politics

Jeff Koons, Rem Koolhaas, Hans Ulrich Obrist at the Serpentine

Souvenir Empire

Celebrity Scents: The Bittersweet Smell of Success

Imperfect Pitch - Football, Space and Landscape

Product Placement: Making the Impossible Possible

Suburban Growth: Matthew Moores Field of Dreams

Perfect Sound Forever: The Secret Function of High End Stereos

Picture of the Week 1

A Little Light Product Placement

Some Advice To A Young Designer

London and on and on

In the Gallery of Ice Creams

Useless Proclamations for a Beautiful City

Mini Mies Chair

Topsy Turvy VSBA: Inverted Heros of an Upside Down Avant Guard

Harvest III: Buried Things

The Harvest II

The Harvest I

Estuary Urbanism

The Royal Families Trees

Everything Flows: ideological cartography

How Geostationary Was My Valley?

The Psychotic Utopia of the Suburbs and the Suburbanisation of War.

LegoLand London Cluster

In a Lonely Place - Under Construction

Design Will Eat Itself

Mach 3 Nitro Gel - Design that's foaming at the mouth.

Marchitecture. Architectural things to do in London this March

Metallic Jet Powered Cloud

"When we got married I had no idea he would do something like this, he just said he was going to do some decorating."

The Electric Cenotaph

Russian Rok

Commitment ...

Dinner in the Iguanadon

Trace

What happens when you cross a pen with a car?

Leg Table Leg

Florentine Building Sites

Good Morning Britain

Football Pitch: Best of British

The Sad Photographer

The First Cut is the Cheapest - Blenheim Palace: pop architecture that goes for the jugular

Book Now For Christmas

Requiem for a Toilet Seat

Architecture that Destroys

TomTom Mobile 5 / GO 700

Winning Design

Another Croydon

Holiday Snap II : Giant Glowing French Balls

Holiday Snap: Canadian War Memorial, Vimy, France

Pecha Kucha London

Anatomy of an Architectural News Story

Big Bens

First Cut - Case Closed

The Texas Tower

Its All About the Big Benjamins

G8 Security Tower

White Cubed Blues

Poundbury, unexpectedly, in the rain

The Exploding Concrete Inevitable. Lou Reed and the Casa da Musica

Swingball

Untitled (Plastic Sack and Timber)

Berlin 1945 - The Obscene Picturesque

Pizza Planet

Goal Sculptures

Interview: Jeremy Deller & Alan Kane

Previewing Cedric Price

The Mardas Touch

Building a Lionel Richie Head

Ornament is Grime 2

An Incredible Smell of Roasting Coffee

Flatpack Frenzy at New IKEA

Langlands & Bell - The House of Osama Bin Laden

Labour is kind of working

Happy Death Men

Build to Let

Architectural Criticism gets Sharp

Niagara Falls

Ornament is Grime

FA(ke) Cup

Q&A: Wouter Vanstiphout

X-treme urinals

Unigate Cowscape

Spray-on Snow

From the Baffler ...

One in a Taxi

The Queen Machine

The Knork

Venturi, Scott Brown and my love that dare not speak its name.

Polictical Placards

The Ketchup Conumdrum

Douglas Coupland: Design and Fiction

It's a Small World

Images de Parfums

Soft Carcass

Christopher Dresser at the V&A

Blow up Pub

Municipal Mummification

The Matt and Ron Show

Semi - detached

Half Timbered Van

Feltham Future

Favorite Things

Fugitives and Refugees' - Chuck Palahniuk

The Pop Vernacular

Design by Chefs

Just What is it That Makes Yesterdays Homes So Different, So Appealing?

Archigrams Pastoral Futurism

Sorry Mies

The Flaming Lips - Live.

Everything Counts - The Sound of Geography Collapsing.

Carlton Terrace Extension

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