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I went out this morning to grab coffee from around the corner and, on my way back home, I ran into two people in the elevator that, from what I could glean, had hit the same button in the elevator and then struck up a conversation. He asked if she had just recently moved into the building. She responded with no, and that she usually doesn't see anyone else on their floor. He was surprised by this response and said that he knows everybody on the floor.
Nearly a hundred years ago, architect Le Corbusier, as well as others, had the idea of creating "streets in the sky." Perhaps the most famous example of this concept is his Unité d'Habitation in Marseille (pictured above). Now a UNESCO World Heritage building because of its role in the development of modernist architecture, the building houses five "streets", two of which were intended to be fully-fledged shopping streets. These streets house(d) things like shops, restaurants, galleries, and even a hotel.
Le Corbusier was famous for his desire to create machines for living in. And these streets in the sky were part of this philosophy. The idea was that by having all of the things you needed under one roof, you would then be able to live an efficient, productive, and enjoyable life. Architecture and design could do that for you.
Of course, the other reason for this thinking was that we needed to get people away from cars. As the car became more commonplace in cities, conflicts arose. And architects began to grapple with how best to separate people and cars. One obvious solution was to simply lift people up and off the ground so that the street could be freed up for cars to do their thing. This was going to be the future.
The pitfalls of this line of thinking have since then been widely documented. And today, I think it's pretty clear that most cities are in fact taking the opposite approach. Instead of removing people, they are removing cars through pedestrianization projects. Some of these projects are temporary, but many are also permanent. This happening almost everywhere from Toronto to Sao Paulo.
The other problem is that it's extremely challenging to make retail uses work way up in the sky. And that's why even second floor retail spaces often struggle compared to those on the ground floor. As I understand it, the non-residential tenancies in Marseille's Unité d'Habitation have naturally evolved from being retail-centric to being more office-like. Supposedly you'll now find architects and medical offices, which is not at all surprising.
But that doesn't mean that Le Corbusier's instincts weren't directionally right. We now have lots of examples of tall buildings housing an intense mix of uses and public functions. And in the case of multi-family buildings, the corridors do often serve as a kind of street. I happen to live off of one that houses our building's amenities. And so in addition to just running into neighbors, I'll often run into the odd birthday party or Sunday afternoon sumo-suit party. True story!
It may not be the Champs-Élysées, but it is a kind of street for living.
Photo by Bernd Dittrich on Unsplash
One of the most extraordinary things about Salt Lake City is that you can land at its airport and then, in 20-30 minutes, you're in the mountains looking at landscapes like this:
By my estimation, this makes it the most accessible big city and mountain town combination in North America.
Historically though, Salt Lake City hasn't really been known for modern architecture. There is, of course, one glaring exception and that is the work of architect John Sugden.
Sugden was originally from Chicago, had trained under Mies van der Rohe, and is credited with bringing a similar kind of International Style to Utah.
The house pictured above is one of Sugden's projects.
I'm not sure when it was originally built, but it was meticulously renovated by Brent Jespersen, and featured in Dwell magazine back in 2009. If you'd like to take a closer look, click here. (It is again being renovated right now.)
When I was researching who in Salt Lake City and Park City was building cool stuff, Brent's name immediately came up. So I appreciate him taking the time to tour me through some of his projects this evening. Thank you, Brent.
What is now clear to me is that this whole not being known for modern architecture thing is quickly going away.
So each year Europe runs a program called the European Capitals of Culture. The objective is to celebrate the richness of European culture and presumably drive throngs of tourists to its various locales. They do this by choosing a set of cities, designating them "capitals of culture", and then running events and programming all throughout the calendar year in those places.
When the program was created in 1985, it was originally called the European City of Culture, as there was only one city being chosen at a time. In the first year that city was Athens. But the program has since evolved and now multiple cities are chosen each year. For 2022, the European Capitals of Culture are Esch-sur-Alzette (Luxembourg), Kaunas (Lithuania), and Novi Sad (Serbia).
I was reading about Kaunas in FT this morning and I was fascinated to learn that this city of approximately 300,000 people has some 6,000 modernist buildings. Some are apparently in disrepair, but many remain in good form and, as part of the festival, visitors can book stays in some of the restored ones.
There is, of course, an interesting story behind these buildings.
This collection of modernist buildings is the result of a relatively narrow window of time and a specific set of circumstances. Lithuania gained independence from the former Russian Empire in 1918, following WWI and while Russia was busy fighting with itself. But at the time, its capital city Vilnius, which remains the capital today, was mostly occupied by Poland.
So Kaunas became its temporary capital city from 1920 to 1939, the latter date being when Vilnius was returned to Lithuania. This temporary designation created a tremendous need for new buildings, both public and private, and it just so happened to line up with the flourishing of European modernist architecture.
Kaunas didn't get any modernist "icons" from architects such as Le Corbusier, but there's absolutely nothing wrong with that. Kaunas instead created its own varietal of modernism, one that incorporated elements of Art Deco and one that you could argue is now deeply symbolic of a very important moment in its history: A peaceful period of interwar freedom and optimism.
Image: Kaunas 2022
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