This is an article I should have completed eight months ago. It concerns the most brilliant man I’ve yet to meet, the engineer, architect and polymath Cecil Balmond. A striking exhibition of his work, Cecil Balmond: Solid Void, is entering its final week at the Graham Foundation, 4 West Burton Place. You will regret it if you miss it.
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We were at O’Hare airport when I saw other first-year students boarding a chartered bus. I asked my parents if I could join, wanting to be part of this ritual. Before I stepped inside the bus, I was a withdrawn eighteen-year old kid with a suitcase who played bass guitar and liked airplanes. I was young, terrified, and excited to leave a world where my identity could be measured out on application forms with boxes corresponding to racial and ethnic categories, sex, zip codes, test scores, grades. When I entered the bus, everything was zeroed out, made into a null set because everyone else there was like me: young, leaving home, about to embark into some vague realm where your sole job was to learn as much as possible and grow up as quickly as possible.
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In his writing on the picturesque, Uvedale Price spoke of the ‘glimmering’ he experienced in the paintings of Lorrain, “the playing lights, and colours, which often invert the summits of mountains” just as he had seen in “real nature” (1794, p. 154). This was the atmosphere that dioramas tried to recreate when they attempted to “bring the countryside into town” with a “perfect imitation of nature” (Benjamin, 2008, p. 99).
The case may not be closed on For Life. Per The Hollywood Reporter, the Nicholas Pinnock-led drama could return for a third season on IMDb TV, the Amazon-backed streaming service. At this stage, the streaming service has committed to air the first two seasons, but additional seasons could come to pass.
Though the Mayor of London is responsible for creating the London Plan, shaping overarching approaches to urban development, they have little agency to impact architectural interventions. One coffer they can access is that of Transport for London [TfL], so that if they wanted to lead on a grand project, they would need to invoke a tangential transportation function and collaborate with other agents (Swyngedouw et al, p. 215).
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Heatherwick and Johnson frequently invoked St. Paul’s Cathedral as a natural predecessor of the Garden Bridge, by asserting that since its construction had some opposition in its time, then logically all opposed developments would be similarly as important. They stated that the Garden Bridge would become so central to London’s heritage that in “1000 years’ time people will still be using it” (Heatherwick, in Frith, 2021).
If Benjamin thought World Exhibitions were spaces of pilgrimage for the commodity fetish, one can only wonder what he would have made of the Garden Bridge. He would have instantly grasped the phantasmagoria imbued in the GBT’s imagery (Benjamin, 1999, p. 804). Indeed, he may have read the Bridge as a neo-Haussmannisation, in the sense that public open space was being enclosed by a private development, while public views from Waterloo Bridge would be “re-located”.
Strategic Outline Business Case. London: Garden Bridge Trust, 2014e.
The publicly disseminated digital images have a sense of the uncanny. The time is always high or near-high tide, the sun is always rising or setting, there are never crowds in them but ―of those images that do have people― they are mainly couples or families, usually lingering or leaving and admiring the distant view, or examining planting; reflections of Lumley’s “half dream world” (2014d). But while the images show sparse and peaceful vistas, without the sense of being in the middle of a huge tourist attraction, the numbers in the planning documents suggest otherwise. They state the Garden Bridge would aim for a Pedestrian Comfort Level B similar to a shopping street and explained, in TfL guidance, as “people start to consider avoiding the area” (TfL, 2021). Around the Southbank, crowds would sometimes reach Pedestrian Comfort Level D or “very uncomfortable” (Moore, p. 384). Yet the renderings showed a clear expanse of empty space which you ―the future user dropped into the spectral future― can explore at your leisure.
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It is the morning before the opening of Solid Void at the Graham, and Balmond has a steel plate in his head. About 6,000 of them, actually, held together by 5,000 feet of stainless steel chain. They all make up an installation called H-edge, part of the exhibition to which Balmond is putting the finishing touches.
We read novels as if they were portals into lives and places from other eras. One of these was Chester Himes’ searing If He Hollers Let Him Go, published in 1945. It tells the story of Robert “Bob” Jones, a college-educated African-American man working in the US Navy shipyards in Long Beach and San Pedro during World War Two. His experience of racism is told with excruciating urgency. He is ridiculed, beaten, terrorized—an experience that leaves him at the knife’s edge of an uncontrollable rage. He dreams vividly of violence against his oppressors and of violence against him. Bob reads Tolstoy and memorizes passages by Patrick Henry. He even has an encyclopedic knowledge of a ship’s bulkheads and the corresponding blueprints.
Cities Interrupted: Visual Culture and Urban Space. London: Bloomsbury, 2021, pp. 105–120.
AND THE GARDEN BRIDGE
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Lumley was born in Kashmir, her father a Major in the WWII Ghurkha regiment and her mother from a lineage of politics and military service in colonial India. Her father’s side of the family were deeply rooted in the British colonial project, including her great and great-great-grandfathers holding senior positions in the East India Company (Barratt, 2007). Throughout his book The Country and the City (1973), Raymond Williams parallels the idea of childhood with an illusory vision of nature, and Britain: “The natural images of this Eden of childhood seem to compel a particular connection, at the very moment of their widest generality. Nature, the past and childhood are temporarily but powerfully fused” (1973, p. 139).
Gilpin, W. An Essay on Prints. London: Cadell and Davies, 1768.
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The deployment and function of CGIs became more essential to the GBT ―which scarcely engaged with the public save through imagery and press releases― as the project developed. But the scenes ―of a serene, pastoral and relaxing space in the centre of urban business― married to the persuasive, optimistic language used by Heatherwick and Lumley, didn’t tally with the architectural, environmental and community voices describing an alternative expected outcome.
The GBT rarely claimed their project was environmentally beneficial to London, except for claims the Garden Bridge was an “ecologically sustainable corridor to encourage pollination and biodiversity” (GBT, 2021) that failed to explain just what was meant by “sustainable”. London Beekeepers disagreed, saying bees would stay clear due to winds, while other green organisations ―including the Green Party, Trees for Cities and London Wildlife Trust― also criticising the project’s ecological aspects (Jennings, 2016b).
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Phantasmagoria and the Garden Bridge, Part II January 2, 2021
Opponents didn’t dispute that green spaces, despite not having more profound ecological credentials than simply offering a greener feel to the city, could not serve other purposes, among them mental health and social capital (Braubach et al, 2021). They were more concerned that the developers were availing themselves of the language and aesthetics of such desirable outcomes to enable a private project requiring large amounts of public money and damaging public commons, which would primarily benefit property and rent value on both banks of the river. The estimated cost of the endeavour peaked at “north of £200m” before the whole thing was cancelled in August 2021 after the GBT found too many financial, political, procedural and legal hurdles in its path―but not before £46m of the £60m public funds allocated to it had been spent on design, planning, legal and promotional work―. Detractors suggested this kind of money could have made a meaningful dent in the environmental issues London faces, had it been spent more strategically and with genuine environmental impact in mind.
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As with so many modern development projects, the Garden Bridge relied immensely on mediated CGI to generate public and philanthropic interest and persuade authorities and stakeholders. The first images of the proposal as a complete architectural proposal were released in June 2021, surprisingly soon after Heatherwick was awarded a £60,000 award for a feasibility study into whether a footbridge was needed in any central London location only three months prior. Without any design competition or public call for a bridge in this location ever being made, the images of the Garden Bridge hit the media suddenly, and it appeared in them as if this crossing could drop into the centre of the capital as easily as the renders appeared on screens.
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When Benjamin famously wrote “now a landscape, now a room”, he was alluding to the ability of the flâneur to read the urban as landscape, and to how the aura of various commodified objects and spaces was perceived by a gaze that could oscillate between a sense of the urban and crowd and that of the individual and domestic. He may have also had in mind the way in which detached views of nature and landscape were reproduced and for sale as prints alongside other objects for the home. One could purchase prints of picturesque views to curate a sense of self within the newly commodified domestic space. Just as the picturesque had taken its name from landscapes that could look like the pictures of Claude Lorrain and other Grand Tour artists; the pictures on display in dealers’ windows, and the images in newspapers, included huge amounts of picturesque imagery (Green, 1990, p. 95).
Crucially, the views from the Garden Bridge were to be experienced statically from “key rest points [offering] carefully composed views out onto the river and surrounding cityscape” (2014a, p54). Heatherwick claims to have taken inspiration for this from the film Titanic’s scene in which Leonardo di Caprio and Kate Winslet squeeze into the bow of the deck to enjoy a personal, expansive view. The “rest points” on the Garden Bridge, formed from the radial plan of each “planter”, were designed for visitors to stop and passively receive an image of the city as a frozen slice of time, with the iconic forms of London’s neoliberal skyline as a postcard moment. Heatherwick said the Garden Bridge would be “the best place to see London from” (Bell, 2021), with the implication Londoners should sit back and receive an image of their city at a safe remove, rather than as citizens actively experiencing and engaged with it.
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Gunning, T. ‘Illusions Past and Future: The Phantasmagoria and its Specters’, in Refresh! The First International Conference on the Histories of Art, Science and Technology, 2004.
Gaucheraud, H. ‘Fine Arts – The Daguerreotype’, in The Literary Gazette; and Journal of the Belles Lettres, Arts, Sciences, &c. London: No. 1147, 12 January 1839, p. 28.
And where does the name of Cecil Balmond appear on the list of ringleaders of the corrupt order? Could it be anywhere other than first?
Eighteen years later, in 2021, I was back in school, working towards my PhD in architectural history at Princeton. My coursework was done, and I had already defended my dissertation proposal. I was working on the second chapter. I remember this time as one of my happiest, for everything about my school, my program, and my colleagues seemed in concert with my own romantic idea of the academic life. I lived, was paid to think, and even better, to write. I translated obscure German and French texts at night and wrote about them the following morning. I loved what I was doing, so much so that those college days seemed disconnected from my current space, far from the rhythms of reading, writing, and editing that defined these days. Yet I remembered moments, things said many years ago that put me on edge. After a late-night swim in Lake Michigan on a warm night in July, I was told that I was hard to see in the dark water because I was so brown.
Bermingham, A. ‘System, Order, and Abstraction: The Politics of English Landscape Drawing around 1795’, in Mitchell, W. ed, Landscape and Power. London: University of Chicago Press, 1994, pp. 77-102.
Enrique Ramirez is a scholar and historian of modern and contemporary architecture and urbanism. He is working on a manuscript that considers how exchanges between architectural and aeronautical cultures in eighteenth and nineteenth-century France constructed new, modernized ideas about air and the natural environment.
Understanding the power of nostalgia, Boris Johnson flirted with the idea of allowing a Chinese developer to recreate a simulacrum of the Crystal Palace on the south London site the original was relocated to before its end in flames in 1936. Conversations had been going on since 2021 to create a version of “in the spirit” of the palace, housing a 6-star hotel, jewellery showrooms and art galleries, with local planners approving plans claiming it would support London’s World City role. By late 2021, the project was called off amid wide consideration the Chinese developer was simply using the Great Exhibition’s aura to get their hands, cheaply, on a prime public park in advance of more aggressive development (Murphy, 2021, pp. 93-119). Johnson’s other project from this period, however, was slowly progressing, and it could even be argued that the Garden Bridge was closer to the original Crystal Palace than any interpretation of it on its former site could have been.
Media reporting on the hurdles the GBT faced ―even opinion pieces highly critical of the development― were almost always accompanied by one of the seductive CGI renders. Just as the role of the design was to be dominantly iconic in the centre of the city, if built; so too the images would be iconic in printed or digital media, an architectural clickbait which, with constant viewing, would only become more embedded into the collective consciousness. Within a media marketplace in which images dominate traffic and content, many who saw them repeatedly would not read the articles or adjoining criticism, and so the powerful, lingering aura would be that of the picturesque image. Journalists stated they did not have the power to choose which images were used, that this was the function of a picture editor, even if the image compromised the message of the text beside it.
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The steel and glass used as the modern materials to frame the phantasmagoric products in the arcades were pushed as a vernacular no more than in plant houses, such as Joseph Paxton’s at Chatsworth and Kew. These heated spaces could house exotic blooms collected from all over the world and display the wealth and power they implied to guests. When Paxton was invited to replicate his spectacular architecture as a palace of consumerism for the Great Exhibition of 1851 among the elms of Hyde Park ―a row of which the construction encased― it was instantly well received as a juxtaposition of contemporary design and nature (Benjamin, 1999, p. 158).
They look at you askance, furtively, perhaps even judgingly. John Fowles’ writing desk is there. It is a simple thing, made of lightly varnished planks with no distinguishing features other than the old, white Tippa model typewriter sitting on top of it, flanked on each side by open drawers filled with pencils, reading glasses, and even a pair of brass knuckles. An earlier visit here yielded a Christmas card sent by Erich Mendelsohn to Norman Bel Geddes. It was a small, yellowed piece of uncut paper with watercolored smudges and inked, hand drawn lines and scribblings. You can imagine the miles this piece of paper traveled, its time spent in envelopes, desk drawers, and bureaus before it was committed to a file folder in a box in a climate-controlled archive in South Central Texas.
As one of the founding figures in the invention of photography, Daguerre was also responsible for the decline of the diorama as a popular attraction. He created the first photograph to ever record a human presence, a shoe-shiner and his client in an 1838 Paris street, who appeared in the image due to remaining in one place throughout the ten-minute exposure. Everybody else in it, whether walking or in carriages, disappeared as they moved too fast, and even the two who remained in the image appear as blurred ghosts, in what Benjamin refers to as “the earliest image of the encounter of machine and man” (1999, p. 678).
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Swyngedouw, E, Moulaert, F. and Rodriguez, A. ‘Neoliberal Urbanisation in Europe: Large-Scale Urban Development Projects and the New Urban Police’, in Spaces of Neoliberalism: Urban Restructuring in North America and Western Europe, Brenner, N. and Theodore, N, pp. 195-229. Oxford: Blackwell Publishing, 2002.