This article from the Guardian about two Brutalist housing estates in London is now more than five years old. But the story is perhaps just as interesting. The article is about two "New Brutalism" estates that were designed and built in the 1960s and 1970s.
The first is the Barbican Estate (which appeared recently on the blog over here) and the second is Robin Hood Gardens (pictured above, partially). Both were designed by notable architects and both have been equally divisive when it comes to their aesthetic appeal. We're talking about Brutalism. So it's likely that you either love them or hate them.
One of the big differences between these two housing complexes is that one is a private estate and the other is (or was) social housing. And perhaps because of this, the Barbican has remained desirable and Robin Hood Gardens was ultimately
This article from the Guardian about two Brutalist housing estates in London is now more than five years old. But the story is perhaps just as interesting. The article is about two "New Brutalism" estates that were designed and built in the 1960s and 1970s.
The first is the Barbican Estate (which appeared recently on the blog over here) and the second is Robin Hood Gardens (pictured above, partially). Both were designed by notable architects and both have been equally divisive when it comes to their aesthetic appeal. We're talking about Brutalism. So it's likely that you either love them or hate them.
One of the big differences between these two housing complexes is that one is a private estate and the other is (or was) social housing. And perhaps because of this, the Barbican has remained desirable and Robin Hood Gardens was ultimately
demolished starting in 2017
. This is despite numerous outcries from the architecture and design community that it should be both preserved and listed.
We could get into questions of funding and maintenance, as well as the design differences between the two complexes (I don't have any of these details), but even without all of this, I find these two divergent outcomes pretty interesting. Architecture, it would seem, isn't everything.
Italian techno DJ Deborah De Luca recently released this live set with Mixmag. Naturally she was playing by herself on a rooftop. Even if you don't like techno, you may find this set interesting because of its setting. It was filmed in Vele di Scampia, which is a housing complex in northern Naples and the suburb where she grew up. But Vele is also one of the most notorious public housing projects in Italy and the world -- known for its decaying brutalist architecture, its drugs and crime, and its role in housing the Camorra crime syndicate.
Built between 1962 and 1975, the "Sails of Scampia" were designed by Italian architect Franz Di Salvo and inspired by the work and thinking of architect Le Corbusier. Obviously this is a recipe that has been tried out all over the world and the results here are not entirely unique (see also Pruitt-Igoe). The complex was based on two building types: towers and tents. The towers are what you might imagine and the tents are what create the "sails" that today define the complex.
The apartments were designed to be simple. But the idea was to connect them with elaborate exterior common spaces that simulate, in a way, the many alleys and courtyards of Naples. (Does this sound like a co-living project?) There are many possible explanations for what went wrong. Perhaps the best place to look for answers is the book Gomorrah written by Robert Saviano.
But what I always wonder is to what extent was the architecture and the approach to urban design responsible for these outcomes? In other words, how much of this is a result of built form and how much of this is a result of socioeconomic factors, such as poor management, high unemployment, and a lack of policing in the area? According to Wikipedia, Scampia had an unemployment rate of about 50% as of 2004.
Le Vele initially consisted of seven buildings, but four of them have already been demolished. In the next few years two more will come down, leaving only one. Supposedly the plan is to keep this last building and refurbish it so that the history of Le Vele isn't lost entirely. Some, including Robert Saviano, are questioning why the state would ever want to commemorate such a horrible place. But if it is repositioned and if it proves to be successful, it may actually help to answer some of my questions.
In the meantime, we'll just have to enjoy Deborah's set.
LSE Cities has just published a new report called, Living in a denser London: How residents see their homes. The goal of the research project was to better understand how modern housing projects are working (or not working) for Londoners. And so they connected with over 500 residents from 14 completed housing projects and got their feedback on everything from built form to community engagement. Most of the housing projects were completed in the last ten years, but they also surveyed projects from 1980, 1947, and 1902. If you don't feel like going through the full report, there is also this website and this short film.
. This is despite numerous outcries from the architecture and design community that it should be both preserved and listed.
We could get into questions of funding and maintenance, as well as the design differences between the two complexes (I don't have any of these details), but even without all of this, I find these two divergent outcomes pretty interesting. Architecture, it would seem, isn't everything.
Italian techno DJ Deborah De Luca recently released this live set with Mixmag. Naturally she was playing by herself on a rooftop. Even if you don't like techno, you may find this set interesting because of its setting. It was filmed in Vele di Scampia, which is a housing complex in northern Naples and the suburb where she grew up. But Vele is also one of the most notorious public housing projects in Italy and the world -- known for its decaying brutalist architecture, its drugs and crime, and its role in housing the Camorra crime syndicate.
Built between 1962 and 1975, the "Sails of Scampia" were designed by Italian architect Franz Di Salvo and inspired by the work and thinking of architect Le Corbusier. Obviously this is a recipe that has been tried out all over the world and the results here are not entirely unique (see also Pruitt-Igoe). The complex was based on two building types: towers and tents. The towers are what you might imagine and the tents are what create the "sails" that today define the complex.
The apartments were designed to be simple. But the idea was to connect them with elaborate exterior common spaces that simulate, in a way, the many alleys and courtyards of Naples. (Does this sound like a co-living project?) There are many possible explanations for what went wrong. Perhaps the best place to look for answers is the book Gomorrah written by Robert Saviano.
But what I always wonder is to what extent was the architecture and the approach to urban design responsible for these outcomes? In other words, how much of this is a result of built form and how much of this is a result of socioeconomic factors, such as poor management, high unemployment, and a lack of policing in the area? According to Wikipedia, Scampia had an unemployment rate of about 50% as of 2004.
Le Vele initially consisted of seven buildings, but four of them have already been demolished. In the next few years two more will come down, leaving only one. Supposedly the plan is to keep this last building and refurbish it so that the history of Le Vele isn't lost entirely. Some, including Robert Saviano, are questioning why the state would ever want to commemorate such a horrible place. But if it is repositioned and if it proves to be successful, it may actually help to answer some of my questions.
In the meantime, we'll just have to enjoy Deborah's set.
LSE Cities has just published a new report called, Living in a denser London: How residents see their homes. The goal of the research project was to better understand how modern housing projects are working (or not working) for Londoners. And so they connected with over 500 residents from 14 completed housing projects and got their feedback on everything from built form to community engagement. Most of the housing projects were completed in the last ten years, but they also surveyed projects from 1980, 1947, and 1902. If you don't feel like going through the full report, there is also this website and this short film.
