Last week I met a hero of mine. I was rounding a corner onto Shoreditch High Street when a figure, wrapped in dark overcoat and trademark scarf, passed me at a crossing. My feet carried me on a few paces before I did a double-take, turned and began a rather embarrassing though totally unintentional Alan Partridge impersonation.”Dan! Dan! Dan!” I called to the figure I recognised as Dan Cruikshank.

Dan Cruikshank
The meeting was brief. I simply told him how I’m a fan of his programmes and how nice it was to meet him and that was it. Simple pleasures. But a pleasure none the less. And all in the knowledge that come bed time on Thursday 2 April, I will have met (well, been in the presence of) another of my academic heroes – Alain de Botton. I’m attending a talk at the National Theatre but that’s sure to be a post for another time.
I remember clearly watching his 2005 series Around The World in 80 Treasures religiously, the timing being particularly fitting as in May of that year I would begin my own Odyssey around eastern Europe so the excitement, intrigue and wonder of travelling was extra strong in me. The combination of my own enthusiasm for the adventure ahead of me and that of Dan’s for the many places and things that he visited and bestowed with his unique vitality helps me remember that specific time in my life as a very happy one. All, of course, contributing to my love of Dan Cruikshank who had already won me over with his effervescent and rather dandyish tendency to always wear a scarf and a hat whatever the native climate. Often resulting him to drenched in sweat. Eccentric bastard.
Though our meeting was swift, I know he’s have approved of my other highlight of the week: visiting the Barbican’s Le Corbusier – The Art of Architecture exhibition. In another life I wouldn’t mind being an architect. The idea of creating something that is then built, lasts and interacts with its environment appeals to me. I also like looking at plans of cities/buildings, their lines, avenues, streets, corners and elevations coming together to create, to my mind, quite beautiful forms and shapes that I’d happily hang on a wall.

Le Corbusier's grand vision for central Paris
Being the last truly Utopian urban planning project in London, and being very much inspired by the man himself, Barbican was a great setting for the exhibition. It was also my first ever visit to a museum/exhibition centre’s late-night opening slot which also gave a nice feel to it all. A whiff of intellectuality and slight pretention was detectable – and I’m all for that; if you’re gonna do it, do it properly (and yes, my partner in architectural adventure for the night, Mr B.Lewis, and I were dressed in black. Bren even had his glasses on which tipped things in his favour).

The Barbican
The exhibiton itself was very cool. Monsieur Le Corbusier is one of the most influential, celebrated and maligned architects of history. To laymen such as myself he’s the Daddy, the name that we all know. Bren and I spent a good two hours learning about Modernism, L’Esprit Nouveau, concrete, the house as a machine, and Le Corbusier’s conviction that a rationally planned city, using his standardised housing types, would offer a healthy, humane alternative to the foetid ‘prisons’ that were the old Victorian cities.
Looking back from 2009, many of his plans looked too related to the maligned everytowns of 60′s and 70′s Britain, or even the Orwellian “social condensers” of Soviet Russia to leave me convinced. But, of course, hindsight is a very distorting looking-glass and such a criticism (as well as being totally lacking in expertise) is pretty unfair.
Le Corbusier’s stuff reminded Bren of a town in Holland he visited called Bijlmermeer and me of a town called Nowa Huta that is to be found to the north-east of Krakow. Nowa Huta means “New Steel Works” in Polish, and has become a suburb of Krakow although it was created to first rival the great ‘bourgeois’ city and then devour it. Of course, that never happened.
Bijlmermeer
Nowa Huta is one of the only surviving places on Earth that was designed along the tenets of Social Realism, an architectural style where form was subservient to function, socialist ideals were to be embodied and expressed and the individual was to be transfigured into the Community. The architects therefore were expected to be “engineers of the human soul.”

Nowa Huta: The social condenser
Rather unsurprisingly, the human soul could not be caged by its ‘patriotic avenues’ nor its symmetrical grid plan nor its huge industrial folly (the steelworks was built hundreds of miles from any iron ore or coal deposits). Instead, it rose to bite the hand of its creator and Nowa Huta became a hotbed of politcal unrest and was a major player in Poland’s push for freedom from the Communist yoke under the Solidarnosc movement of the 1980′s.













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