Buildings are inert. They don’t move much. Maybe millimetres in an earthquake if designed correctly. Buildings thus fix a space to a place. Your home is as much a geographic location as it is a sequences of interior spaces. Yet relocating buildings happens because: why? Due to the attention of you the reader, this text seeks to only engage why buildings might move because of : heritage.
Heritage is ‘old money’! If heritage aspires to an idea of cultural value, this must be legal tender to anyone from the age of 16…. TBC
What if… Clandon House was a speculative project at the UCL Institute of Archeology? Where students can propose levels of intervention ranging from Lord Onslow’s strategy of ‘do nothing, spend the money elsewhere’ through to a simulacra strategy of ‘total reinstatement’. In between, there are halfway strategies that would include retention of the impressive ruinous voids which the drone impressively captures as well as reconstruction of some of the more notable rooms. Architecture as future archeology proposes new uses through evidencing the past.
Lord Rupert Onslow offers these thoughts in relation to the 2015 fire which destroyed Clandon House. “Despite seeing centuries of family and national history burned to the ground, the 8th Earl of Onslow has said he does not want to see his ancestral home Clandon Park rebuilt. Rupert Onslow, a hereditary peer and insurance broker said that he would prefer for the insurance payout, which he estimates will be about £65 million, be spent on another National Trust property, instead of restoring his 18th century family home to a ‘mock-Georgian footballers’ wives house’. ‘Clandon is lost. It’s a ruin now. It decayed instantly. This sad site should be left in peace and tranquillity.’ ‘The last thing we want now is a replica. If the National Trust wants a replica, let them build it somewhere else.’ the earl told The Times. Eighty fire fighters were unable to save the house when it was ravaged by flames in April 2015.”
The Maori meeting house, the Grade 2 Listed Hinemihi, is sited on Clandon Park in Surrey opposite Clandon House, the Grade 1 Listed 18th Century property built by Lord Onslow. On 29th April 2015 a large fire completely destroyed the interior and roof. What does the future hold for Hinemihi now that Clandon House will undergo a 10year restoration programme?
In the 1960s, a gang of variously disaffected youth sprang up in Hawkes Bay, New Zealand. They didn’t ride bikes, but they quickly developed all the trimmings of an outlaw motorcycle club: patches, club colors, and a fiercely violent process of initiation. They came to be known as the Mighty Mongrel Mob and today they’re the largest gang in the country, with around 30 chapters across both islands.
Media access to the Mob is rare, which is why this photo series by Jono Rotman is kind of a big deal. Jono, who is a Wellington born photographer now living in NYC, cut his teeth capturing New Zealand’s prisons and psychiatric wards, before he took on gang life in 2007. We asked him how he convinced hardened gang members to sit for large format photography, and what he learned along the way…
Tradition within modern media.
Waka Huia investigates the cinematic fabrication of a place today lost in time. History usually doesn’t excite much contemporary interest, unless Game of Thrones-like, it is embroiled with thematics of love, war and honour. Dead Lands is set in a time which proceeded the arrival of European settlement in NZ. That place way over there. Which most of you will never go… so therefore it remains enigmatic. The Deadlands film is an attempt to discover the creation of an ambitiously authentic cinema world that displays Maori language, customs, and martial arts.
In Sam Jacob’s recent ‘Opinion’ on Dezeen regarding the long intertwined relationship between that of the picturesque and that of the ruin, he called the reader to “Think of the famous illustration by Gustave Doré where Macaulay’s Mäori New Zealander sits on the remains of London Bridge sketching the ruins of St Paul’s, contemplating a lost civilisation.” As an architect who is Maori I had never heard of this illustration and wondered why? TBC…
Regan O’Callaghan has produced this ‘picture window’ which incorporates Hinemihi. Having been recently over-awed by Mark Burry’s ‘inventive restoration’ work at the Sagrada Familia (with its ‘kitsch’ gothic windows that ask: “what is kitsch when viewed over a 1,000 years?”), I wondered what if Regan’s window could actually become Hinemihi’s window in the future? A Gothic Maori English Rose window? As witnessed in many Gothic churches. After all, a Maori meeting house has church-like characteristics in that it permits both light to enter and the darkness of death to pass out. In Maori meeting houses, the living enter through the door and the dead are passed out through the window…