221dog_SHOREDITCH 3000

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.
map_31map_21map1map_11

industrious_shoreditch_map-600x472Adam-1.Dent_.11-600x57020695796c

210qat_WHAT_arabia

WHAT_arabic architecture balloon

241mer_TATE BRITAIN SYMPOSIUM

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:

  • Anthony Hoete, WHAT Architecture, London – towards a coherent vision and architectural masterplan for the future development of the Merz Barn site.
  • Andrew Shepherd, Architectural Association London – restoring the Merz Barn, some conservation, environmental and planning issues.
  • Natasaha Reid, Natasha Reid Studio, London – The Merz Shed and the Merzbau pavilion projects; future art exhibitions and proposals for an architecture research laboratory at the Merz Barn site.
  • Rob Airey, Curator Hatton Gallery University of Newcastle – Re-contextualising the Merz Barn wall art work within the environs of a University art gallery.
  • Live Works; Future of the Merz Barn research project, by MA Architecture students, University of Sheffield

HousingMerzBarnPosterAWhttp://www.merzbarn.net/

http://www.tate.org.uk/whats-on/tate-britain/exhibition/schwitters-britain

 

 

000off_HOT LOVE ARCHITECTURE

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…

128art_GIF-ITI

056mod_SOMEONE STOLE MY LIFT

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. www.blablablarchitecture.com www.blablablarchitecture.com

015REE_KRISTY: A DIY HORROR

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…

www.blablablarchitecture.com015REE_#KRISTY

048per_SCAFFOLDING STRUCK



048per_WHAT architecture2048per_WHAT architecture

 

 

WHAT_appchitecture

000off_POKER DOT

IMG_0816

000off_NOIR: BERLIN > SHOREDITCH > LA

The work of high-viz man-about-Shoreditch-town Thierry Noir has been spotted seen both in our office and on the cover of the U2 album, Achtung Baby. Thanks to Howard Griffin Gallery, he’s now off to LAX. IMG_0600www.blablablarchitecture.comwww.blablablarchitecture.com1