The Spotted Dog is a Grade 2 Listed Building with an accumulated history: part tudor, part Georgian, part Victorian, part Modern. Just like Shoreditch as evidenced in these maps by Adam Dant. Dant draws also an industrialised Shoreditch supplanted by a future digitised Shoreditch in the year 3000 and a hybridised New York Shoreditch.
HOUSING MERZ in the 21st Century / The artistic legacy of the Merz Barn and Kurt Schwitters in Britain
Thursday 27th November 2014: Welcome address and official opening at the Tate by Dr Penelope Curtis, Director Tate Britain with panel discussion chaired by Malcolm Miles (Professor of Cultural Theory, School of Architecture Design & Environment) University of Plymouth. Featuring:
Every now and then something rumbles out of the WHAT_radio office PA which literally strikes a (sonic) chord. We Are Shining’s Hot Love features Adwoa Aboah sulking and dancing through the streets of East London. The moody video matches the blues-tinged and slightly hip-hop inspired psychedelica of the track. Before that there was “Killing” which reminded me of Santa Sangre (“Holy Blood”), the 1989 Mexican-Italian avant-garde horror film directed and written by Alejandro Jodorowsky. Divided into both a flashback and a flash-forward, the film, set in Mexico, tells the story of Fenix, a boy who grew up in a circus, and his life through both adolescence and early adulthood.
Whilst I am not entirely sure how this all lends itself to the design process I recall a recent comment by the councillor for the Forest Gate ward, in last week’s Newham Development Committee Members’ Design Review, that the “architects must demonstrate more love for their project”. So Hot Love is the current musical score to 221dog_ reminding us all to love architecture. Just in time for Halloween…
The elevator as a crime space.
The elevator has long been aestheticised by architecture.
As in the Louis Malle film ‘L’ascenseur pour l’échafaud’ scored by Miles Davis. This aesthetic is however a long way from the aesthetic of lifts in social housing, which are less jazzy soundtrack and more piss bouquet, and so are typically an uneasy compressed social encounters due to the diaspooric nature of the building occupants to which the lifts serve.
At the end of Olly Blackburn’s London Film Festival premiere of Kristy, the audience were asked to make death masks. From his film Kristy. These were fashioned from tin foil, a ready-to-hand kitchen combat if there was ever one. In the audience was our man with the cam, Ricardo Oei…