Jonathan Glancey: The Latest Architecture and News

This short essay, written by the author and critic Jonathan Glancey, coincides with the launch of the inaugural Architecture Drawing Prize – a competition curated by the World Architecture Festival, the Sir John Soane's Museum, and Make. The deadline for the award is the 17th of September 2021.

“Is graphicacy a word?” asks Ken Shuttleworth, founder of Make Architects and instigator of The Architecture Drawing Prize. It is. “Like literacy”, he says, “, it’s certainly what I’m interested in when looking at and judging drawings. It’s about a fluency in making and understanding them.” The Architecture Drawing Prize is in its fifth year now. “We tend to see very few hand drawings by young architects - they mostly use computers - and, today, most architectural students come from more of a maths and physics than an art background. I still believe, though, that hand drawing is very important.”

A century on, the compelling idea that Modern architecture emerged like some blindingly white, crystalline and disruptive phoenix from the darkness, death and destruction of the First World War is, perhaps, a familiar one. And, yet, the charcoal sketches and chiaroscuro montages Mies van der Rohe made during and after the epochal competition for the Berlin Friedrichstrasse Skyscraper of 1921-22 retain the power to catch the eye, provoke and disturb in our own era of overwhelming imagery much of it produced by and with computer programs.

What is so very remarkable about these century-old visionary drawings is that they portray a future building type - verging on the ethereal and more or less impossible to realize at the time - in the earthiest of drawing materials. It had been a stroke of genius to use charcoal to evoke an architecture of lightness rising from the embers of the trenches that would revolutionize the way we shaped tall buildings and with them our city streets. Such is the power of drawing by hand.

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Cities are universes in themselves; furiously spawning, spewing, hissing through time and space. They are cudgeled, raked, plastered, worshipped, fought over, set on fire; they are slippery wombs that cradle wars, victories, blood and brilliant storms. The built environment has always been indicative of its inhabitants’ fears, desires, and ideals. As such, it is one of the earliest, most powerful forms of human expression. For World Cities Day 2017, the new BBC Designed section of the BBC Culture website commissioned motion graphics designer Al Boardman to create The Perfect City, an animated video covering a brief history of humankind’s quest for the "ideal" and the "perfect" in urban design. With a voiceover and script by renowned architecture critic and writer Jonathan Glancey, the video is a remarkable 2-minute overview of some prominent examples in city planning, both old and new, successful and unsuccessful.

According to Albert Speer, Hitler’s ambitious architect and all-too-capable Minister of Armaments and War Production, the final performance by the Berlin Philharmonic before this distinguished orchestra abandoned Berlin in May 1945 opened with Brünnhilde’s last aria—the vengeful valkyrie sings of setting fire to Valhalla—and the finale from Wagner’s Götterdämmerung.

A wayward force of the High Renaissance, Baroque was broken in by Michelangelo in Rome in the sixteenth century before being given full rein by Bernini and Borromini in the seventeenth. Characterized by curves, domes, broken pediments and a gloriously inventive play on classical detailing, at its theatrical zenith it was thrilling architectural opera – far from the chaste and graceful classicism that both preceded it and ousted it in the eighteenth century. Deeply romantic, it also had something of the subversive about it.

In a comment to the Architects' Journal, Finnish architect Juhani Pallasmaa has expressed concern over the Guggenheim's plans to build a new museum in the city of Helsinki.

The project emphasises a consumerist and touristic view of art at the expense of the cultural and humane task of art. instead of strengthening local artistic traditions and practices, the project strengthens the already doubtful globalisation and commercialisation of art. The public funds could clearly be used in a more innovative and efficient manner to support Finnish artistic culture. 

Dream of Venice Architecture, the second in a series by Bella Figura Publications, has brought together a collection of contemporary architects and architectural writers to share their personal experiences of La Serenissima: the great Italian city of Venice. "Water runs through her veins," Editor JoAnn Locktov writes. "Bridges, palaces, churches – every structure is a testament to the resiliency of imagination."