Nearly thirty years after the fall of the USSR, the word "Soviet" should be as meaningless by now as "Hapsburg" or "Hohenzollern". Strangely, though, it endures, as places both inside and outside the former Soviet Union define themselves for or against what happened when it existed. But does that experience mean anything today, or is it just an enormous cul-de-sac? This book tries to find out, through an itinerary that goes from the Baltic to Belarus, from Ukraine to the Urals, from the Caucasus to Central Asia, and in cities that range from nuclear new towns of the Fifties to gleaming new capitals of the 21st century. In this Eurasian post-Soviet space, we try to find the continuities with Communism - if there are any - and the remnants of revolutions both distant and recent. Instead of a wistful journey through ruins, this intends to be an engaged travelogue, a subjective, personal Marxist Humanist guidebook to somewhere that actually exists, but which is constantly haunted by what it didn't become, whether a real Communist utopia or a successful or fair capitalism. In the course of this transcontinental account of what used to be the Soviet Union and is now a patchwork of EU democracies, neoliberal dictatorships and Soviet nostalgic enclaves (often found in the same countries) we might just find the outlines of a way of building cities that is a powerful alternative, both in the past and present.
In this brilliant polemical rampage, Owen Hatherley shows how our past is being resold in order to defend the indefensible. From the marketing of a "make do and mend" aesthetic to the growing nostalgia for a utopian past that never existed, a cultural distraction scam prevents people grasping the truth of their condition. The Ministry of Nostalgia explodes the creation of a false history: a rewriting of the austerity of the 1940s and 1950s, which saw the development of a welfare state while the nation crawled out of the devastations of war. This period has been recast to explain and offer consolation for the violence of neoliberalism, an ideology dedicated to the privatisation of our common wealth. In coruscating prose-with subjects ranging from Ken Loach's documentaries, Turner Prize-shortlisted video art, London vernacular architecture, and Jamie Oliver's cooking-Hatherley issues a passionate challenge to the injunction to keep calm and carry on.
Back in 1997, New Labour came to power amid much talk of regenerating the inner cities left to rot under successive Conservative governments. Over the next decade, British cities became the laboratories of the new enterprise economy: glowing monuments to finance, property speculation, and the service industry—until the crash. In A Guide to the New Ruins of Great Britain, Owen Hatherley sets out to explore the wreckage—the buildings that epitomized an age of greed and aspiration. From Greenwich to Glasgow, Milton Keynes to Manchester, Hatherley maps the derelict Britain of the 2010s: from riverside apartment complexes, art galleries and amorphous interactive “centers,” to shopping malls, call centers and factories turned into expensive lofts. In doing so, he provides a mordant commentary on the urban environment in which we live, work and consume. Scathing, forensic, bleakly humorous, A Guide to the New Ruins of Great Britain is a coruscating autopsy of a get-rich-quick, aspirational politics, a brilliant, architectural “state we’re in.”
Back in 1997, New Labour came to power amid much talk of regenerating the inner cities left to rot under successive Conservative governments. Over the next decade, British cities became the laboratories of the new enterprise economy: glowing monuments to finance, property speculation, and the service industry-until the crash. In A Guide to the New Ruins of Great Britain, Owen Hatherley sets out to explore the wreckage-the buildings that epitomized an age of greed and aspiration. From Greenwich to Glasgow, Milton Keynes to Manchester, Hatherley maps the derelict Britain of the 2010s: from riverside apartment complexes, art galleries and amorphous interactive "centers," to shopping malls, call centers and factories turned into expensive lofts. In doing so, he provides a mordant commentary on the urban environment in which we live, work and consume. Scathing, forensic, bleakly humorous, A Guide to the New Ruins of Great Britain is a coruscating autopsy of a get-rich-quick, aspirational politics, a brilliant, architectural "state we're in.
A scathing, lively and timely look at the "European city", from one of our most provocative voices on culture and architecture today' Owen Jones A searching, timely account of the condition of contemporary Europe, told through the landscapes of its cities Over the past twenty years European cities have become the envy of the world: a Kraftwerk Utopia of historic centres, supermodernist concert halls, imaginative public spaces and futuristic egalitarian housing estates which, interconnected by high-speed trains traversing open borders, have a combination of order and pleasure which is exceptionally unusual elsewhere. In Trans-Europe Express, Owen Hatherley sets out to explore the European city across the entire continent, to see what exactly makes it so different to the Anglo-Saxon norm - the unplanned, car-centred, developer-oriented spaces common to the US, Ireland, UK and Australia. Attempting to define the European city, Hatherley finds a continent divided both within the EU and outside it. 'The latest heir to Ruskin.' - Boyd Tonkin, Independent 'Hatherley is the most informed, opinionated and acerbic guide you could wish for.' - Hugh Pearman, Sunday Times 'Can one talk yet of vintage Hatherley? Yes, one can. Here are all the properties that have made him one of the most distinctive writers in England - not just 'architectural writers', but writers full stop: acuity, contrariness, observational rigour, frankness and beautifully wrought prose.' - Jonathan Meades
How to make a fairer, more just city From the grandiose histories of monumental state building projects to the minutiae of street signs and corner cafés, from the rebuilding of capital cities to the provision of the humble public toilet, Clean Living under Difficult Circumstances argues for the city as a socialist project. This essay collection spans a period from immediately before the 2008 financial crash to the year of the pandemic. Against the business-as-usual responses to both crises, Owen Hatherley outlines a vision of the city as both a venue for political debate and dispute as well as a space of everyday experience, one that we shape as much as it shapes us. Incorporated here are the genres of memoir, history, music and film criticism, as well as portraits of figures who have inspired new ways of looking at cities, such as the architect Zaha Hadid, the activist and urbanist Jane Jacobs, and thinkers such as Mark Fisher and Adam Curtis. Throughout these pieces, Hatherley argues that the only way out of our difficult circumstances is to imagine and try to construct a better modernity.
From the grandiose histories of grand state building projects to the minutiae of street signs and corner pubs, from the rebuilding of capital cities to the provision of the humble public toilet, Clean Living in Difficult Circumstances argues for the city as a socialist project. Combining memoir, history, portraits of particular places and things, Hatherley argues for those who have tried to create and imagine a better modernity, both in terms of architecture, such as Zaha Hadid or Ian Nairn, in terms of the urban space, like Jane Jacobs or Marshall Berman, and the way we see the world more widely, like Mark Fisher or Adam Curtis. Together, these outline a vision of the city as both as a place of political argument and dispute, and as a space of everyday experience, one that we shape as much as it shapes us.
A scathing, lively and timely look at the "European city", from one of our most provocative voices on culture and architecture today' Owen Jones A searching, timely account of the condition of contemporary Europe, told through the landscapes of its cities Over the past twenty years European cities have become the envy of the world: a Kraftwerk Utopia of historic centres, supermodernist concert halls, imaginative public spaces and futuristic egalitarian housing estates which, interconnected by high-speed trains traversing open borders, have a combination of order and pleasure which is exceptionally unusual elsewhere. In Trans-Europe Express, Owen Hatherley sets out to explore the European city across the entire continent, to see what exactly makes it so different to the Anglo-Saxon norm - the unplanned, car-centred, developer-oriented spaces common to the US, Ireland, UK and Australia. Attempting to define the European city, Hatherley finds a continent divided both within the EU and outside it. 'The latest heir to Ruskin.' - Boyd Tonkin, Independent 'Hatherley is the most informed, opinionated and acerbic guide you could wish for.' - Hugh Pearman, Sunday Times 'Can one talk yet of vintage Hatherley? Yes, one can. Here are all the properties that have made him one of the most distinctive writers in England - not just 'architectural writers', but writers full stop: acuity, contrariness, observational rigour, frankness and beautifully wrought prose.' - Jonathan Meades
A walk through the remnants of a social democratic America, and an argument about its future. In the 1960s, a novel ideology about cities, and what was best for them, emerged in New York. Pushing against the state planning of the time, it held that cities were at their best when they were driven from the bottom-up and when organic, unplanned processes were allowed to run their course, in a spontaneous "ballet of the street". Cities were at their worst, however, when the state stepped in, demolishing lively old neighbourhoods and erecting giant, sterile, empty "projects". This book uses the method of this ideology — walking — to test how true it actually is about the "capital of the twentieth century", New York City, with a brief interlude in the capital, Washington DC. The "projects" that are walked in this book range from cultural complexes in Manhattan to New Deal-era public housing developments in Brooklyn, Harlem and Queens, from the social experiment of Roosevelt Island to Communist housing co-operatives in the Bronx, from the union-driven rebuilding of the Lower East Side to DC's magnificent Metro. For all their many flaws, they prove that Americans could, in fact, plan and build fragments of a better society, which survive and sometimes thrive today in one of the unequal places on earth. Walking the Streets/Walking the Projects takes a hard look at these enclaves, and asks what a new generation of American socialists might be able to learn from them.
Professor Chadwick completes his study of the Victorian Church with detailed accounts of the problems which confronted the Church in the latter part of the nineteenth century: the question of science and religion, the acceptance of biblical criticism, the Church in village and town, changes in the attitude to the episcopacy, relationship with the Roman Catholics, and the growth of secularization. The material is organized in masterly fashion, the style of writing is characteristically engaging, and the innumerable sidelights on people in high and low places are as illuminating and relevant as in Part I of this work. The two volumes together provide an understanding of the background of many of the problems, which the Church faces today. For this second edition, Professor Chadwick has made many minor revisions to the text and included a number of additional bibliographical references.
A gritty and moving personal account of the struggle to provide humanitarian relief during Operation Restore Hope in war-torn Somalia. In 1993, Gareth Owen volunteered to go to Somalia with an Irish aid agency. Located in a remote desert outpost, he encountered the brutality of conflict and famine and experienced the hardships and struggles of an extraordinary race of desert warriors. He rubbed shoulders with the French Foreign Legion and Greek Special Forces and worked alongside a band of international aid workers striving to feed the Somali people. And as the country began to recover, he found himself losing connection with the Somalis as their resentment towards the international presence grew and violent confrontation erupted. In this accessible and engaging memoir, Owen, now Humanitarian Director at Save the Children UK, recounts the entanglement of violence and humanity at the heart of this notorious peacekeeping operation. This is a story of human resilience and contradictory friendships, of loyalty, courage and extraordinary endeavour — but mostly it is a story about the meaning of human connection in desperate circumstances. Part memoir, part history and part politics, When the Music's Over sees beyond the criticism of humanitarian intervention and challenges us to consider the enduring importance of international solidarity in a world where notions of common humanity and universal peace are increasingly being abandoned.
This new edition of Eric Yates-Owen and Robert Fournier's classic book on British studio potters' marks contains new and revised entries for many potters, with up-to-date information about the artists' styles, marks and addresses. Entries are arranged alphabetically, with each entry giving biographical data, information on the type of ceramics produced, the location of the pottery and dates indicating when marks have changed, as well as images of the different marks used. Three useful indexes enable the reader to search by mark rather than maker, in various categories such as creatures, monograms and signs. Revised by expert collector James Hazlewood, British Studio Potters' Marks, third edition, is the essential reference guide for collectors of British studio pottery.
Concerned here broadly with the period 1829-59, Professor Chadwick writes of the church's precarious position at the start of the period, and the problems of dissent; the Whig reform of the Church by the ministries of Peel and Melbourne; the Oxford Movement, the influence of Newman and the development of ritual; the relations of church and government under Lord John Russell; the growth of the seven principal dissenting bodies; the theory and practice of Church and State at mid-century, and the troubles that arose over eucharistic worship; and finally the unsettlement of faith and the several attempts at restatement at the close of the period. The history is completed in The Victorian Church, Part II 1860-1901.
When communism took power in Eastern Europe it remade cities in its own image, transforming everyday life and creating sweeping boulevards and vast, epic housing estates in an emphatic declaration of a noncapitalist idea. The regimes that built them are now dead and long gone, but from Warsaw to Berlin, Moscow to postrevolutionary Kiev, the buildings remain, often populated by people whose lives were scattered by the collapse of communism. Landscapes of Communism is a journey of historical discovery, plunging us into the lost world of socialist architecture. Owen Hatherley, a brilliant, witty, young urban critic shows how power was wielded in these societies by tracing the sharp, sudden zigzags of official communist architectural style: the superstitious despotic rococo of high Stalinism, with its jingoistic memorials, palaces, and secret policemen’s castles; East Germany’s obsession with prefabricated concrete panels; and the metro systems of Moscow and Prague, a spectacular vindication of public space that went further than any avant-garde ever dared. Throughout his journeys across the former Soviet empire, Hatherley asks what, if anything, can be reclaimed from the ruins of Communism—what residue can inform our contemporary ideas of urban life?
When communism took power in Eastern Europe it remade cities in its own image, transforming everyday life and creating sweeping boulevards and vast, epic housing estates in an emphatic declaration of a noncapitalist idea. The regimes that built them are now dead and long gone, but from Warsaw to Berlin, Moscow to postrevolutionary Kiev, the buildings remain, often populated by people whose lives were scattered by the collapse of communism. Landscapes of Communism is a journey of historical discovery, plunging us into the lost world of socialist architecture. Owen Hatherley, a brilliant, witty, young urban critic shows how power was wielded in these societies by tracing the sharp, sudden zigzags of official communist architectural style: the superstitious despotic rococo of high Stalinism, with its jingoistic memorials, palaces, and secret policemen’s castles; East Germany’s obsession with prefabricated concrete panels; and the metro systems of Moscow and Prague, a spectacular vindication of public space that went further than any avant-garde ever dared. Throughout his journeys across the former Soviet empire, Hatherley asks what, if anything, can be reclaimed from the ruins of Communism—what residue can inform our contemporary ideas of urban life?
In A Guide to the New Ruins of Great Britain, Owen Hatherley skewered New Labour’s architectural legacy in all its witless swagger. Now, in the year of the Diamond Jubilee and the London Olympics, he sets out to describe what the Coalition’s altogether different approach to economic mismanagement and civic irresponsibility is doing to the places where the British live. In a journey that begins and ends in the capital, Hatherley takes us from Plymouth and Brighton to Belfast and Aberdeen, by way of the eerie urbanism of the Welsh valleys and the much-mocked splendour of modernist Coventry. Everywhere outside the unreal Southeast, the building has stopped in towns and cities, which languish as they wait for the next bout of self-defeating austerity. Hatherley writes with unrivalled aggression about the disarray of modern Britain, and yet this remains a book about possibilities remembered, about unlikely successes in the midst of seemingly inexorable failure. For as well as trash, ancient and modern, Hatherley finds signs of the hopeful country Britain once was and hints of what it might become.
Militant Modernism is a defence against Modernism's many detractors. It looks at design, film and architecture - especially architecture — and pursues the notion of an evolved modernism that simply refuses to stop being necessary. Owen Hatherley gives us new ways to look at what we thought was familiar — Bertolt Brecht, Le Corbusier, even Vladimir Mayakovsky. Through Hatherley's eyes we see all of the quotidian modernists of the 20th century - lesser lights, too — perhaps understanding them for the first time. Whether we are looking at Britain's brutalist aesthetics, Russian Constructivism, or the Sexpol of Wilhelm Reich, the message is clear. There is no alternative to Modernism.
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