There’s Live… and there’s Virtually Live

Magazine London, the audience waiting to enter the live-stream performance space for The Smile ©RobertKronenburg

On a recent trip to London, I set out to look at how live music venues had been affected by two years of intermittent shutdowns. I had expected to find changes, hardships, and closures, and indeed there had been well-known, and well-loved places forced out of business. I know musicians, promoters and venue operators are resourceful people, used to hard knocks and making the best out of the situation, but it has been reassuring to see so many live music operations now back in business, ready to entertain fans. Tours are happening again, in the small and the large venues, and the grass-roots venues that have survived are back in operation. But there is something else happening too, something that had started before the pandemic but has now taken on a new urgency, and I had two first-hand experiences of it recently. 

Getting to see the first live show by Thom Yorke and Johnny Greenwood’s (Radiohead) new band The Smile (with drummer Tom Skinner) was an experience unlike any other I have had. There was the familiar online rush for tickets, but after that, things were quite different. I wouldn’t receive my ticket until two hours before the gig and I was warned not to turn up until 90 minutes before it started. At the venue, phone cameras were banned (and the lenses covered with stickers), and strict instructions were given to stay in your seat during the performance (though no one took much notice). The reason for this was the performance was to be the first of three to take place in a fifteen-hour period, each one selected for a different time zone around the planet. Although we, the lucky audience (of a thousand or so) were physically there, we would be a small proportion of the tens (hundreds?) of thousands around the world who had paid for a live stream. 

The show took place in a new building, specifically designed for streaming live events, a black-box space called Magazine London, on the Greenwich peninsula, designed by architects Nissen Richards Studio. The large 3,000 capacity temporary building has been created to host exhibitions, product launches, ceremonies, parties in collaboration with event production and media specialists and engineers. In this case, it was transformed in just a few days into an in-the-round venue with the band as the focus and the audience as the backdrop. 

As a non-virtual audience member, it was great, and the band were superb, showcasing all new material. The audience were respectful and enjoying the experience and the video crew did not interfere with the event too much although as the cameraman with the stabiliser rig constantly circled the stage you couldn’t forget what was happening either. I had the unusual experience of texting my niece in the US who was simultaneously watching the show, and after it was over, I called her to share our experiences and talk about the gig. From the band’s perspective they were able to give something to fans around the world without the trouble (or cost, both financial and environmental) of hauling all their gear around. Of course, what the online fans got was not quite the same, and all the local venues didn’t fill any seats. I guess most of them would enjoy the show (my niece did), and perhaps a greater number would lay out the relatively low cost and value the ease of viewing compared to the commitment needed to go to see the band live. It’s a safe, economic, commitment free way of enjoying live music – but in no way does it have the excitement of the live show; of seeing your heroes in the flesh, of being in the room with your tribe, of being a part of an audience in a venue, often one that has seen other great artists performing, a place that has history.

The night before I had had another introduction to this new world. In Dalston, North London is a tiny club run by volunteer enthusiasts that has been going since 1984, the Vortex. Since 2005 it has been based in the Dalston Culture House in an upstairs room that can hold about 100 people. It’s a simple space with a low stage at one end and a small bar at the other. This a not-for-profit organisation, without regular public funding, that puts all its income back into the club. I was there for the second show by the Zoe Rahman Trio, having bought the ticket a few weeks earlier online. Turn up, buy a beer, and take a seat and then the music starts. It is as intimate an experience as you can get, and although there is a mixer desk and amplification the performance could probably work as well without. In this setting the band have a direct relationship with the audience, Zoe talking about music, life and family in between tunes, again mostly new material. And they are also fantastic musicians working at the top of their game, Zoe stating how good it is to be back ‘in the job’ making live music with a live audience. And yet, there are cameras here too. The Vortex has also begin live streaming its gigs. Once there would be regular live shows broadcast from the club by the BBC and this has in the past provided a valuable source of income for the club, but this stopped about five years ago – now they are going it alone. Sure, the online audience will not be in the same league as for The Smile, but the artist and the club get valuable exposure.

The streaming of live performances by contemporary musicians for paying audiences is a development which is not going to go away. It brings both threats and opportunities to the live music scene. Threats are that local venues may lose some of their income from the bands who used to tour (although there is also the possibility that they might gain some income from live streaming themselves), and future music fans will lose the opportunity of seeing their favourites live. One opportunity is that it makes live gigs more accessible, for people who cannot afford the time, or the cost. It also provides an income stream for artists, and in a world where sustainability is an increasing imperative, cuts out the massive impact of transportation by both bands and audiences. However, it is surely certain that there will always be a gang of people who want to go out and experience live music, in all its forms from the small local club to the big stadium show. For these audiences, and there are many of them, it is crucial that live stream gigs remain an addition to the live music scene, not a replacement for it.

Soaring Inspiration

The photograph (left) shows Robert Kronfeld in his 1929 glider Wien designed by Alexander Lippisch to Kronfeld’s specifications. The Wien was the first glider to establish the possibility of long-distance cross-country soaring flights.

I have always been fascinated by aviation. Although architectural design has been my chosen profession, which I have found fascinating, like many others not fortunate enough to make their career as a pilot, I have spent huge chunks of my time pursuing non-professional flying… and of course reading many, many books on anything related to it. It might be surprising to some, but an interest in aviation is totally compatible with a passion for design matters. Aircraft are not only outstanding examples of engineering design, but the aerodynamic qualities that are crucial for efficient performance has also often led to great aesthetic beauty, form following function. Aircraft structures, which need to be strong and light demand innovation in form and materials. Appreciating the way in which a beautiful aeroplane is designed, made, and operated is not that far from appreciating a high-quality building.

For me, the ultimate aircraft is the glider, designed as it is for its aerodynamic soaring efficiency so that it (and its pilot) may stay aloft utilising just the energy generated by the atmosphere. Early gliders used traditional materials like wood and fabric, but in an innovative way bringing ultimate strength for minimal mass. Contemporary gliders have built on this tradition with early adoption of high strength composite materials such as glass-fibre and carbon-fibre. Glider pilots are tested not only on their ability to control their aircraft, but also must have a deep understanding of its construction and maintenance (for safety and performance reasons) as well as how the meteorological atmosphere affects and sustains it. 

Literature is an important part of the architectural world – there are uncounted books on the subject covering diverse aspects of its design history and construction. In my experience there is a far smaller library of books about aviation, although some prominent author’s works have transferred beyond specialist reading (for example the French author and aviator Antoine de Saint-Exupéry). Just before the first lock-down I came across a book which in retrospect has been a real inspiration in getting me to buckle down and scratch my gliding itch properly by finally doing the work to earn my licence. It’s a rare book (although you can read the entire thing for free by downloading it from the Sailplane and Gliding archive section of their website), and I was excited a few weeks ago when I spotted a copy on an online auction site. The seller accepted my offer, so I now have my own copy. Published in 1932, and never re-printed, it’s called Kronfeld on Soaring and Gliding

Robert Kronfeld was a pioneer glider pilot who set many landmark records for duration, height, and distance in the early days of the sport, flying at the legendary Wasserkuppe site in Germany, and elsewhere in the inter-war years. He not only helped develop many of the advanced soaring techniques that are so familiar today, but he was also deeply involved in expanding meteorological knowledge, and the design development of the modern glider. He was brave not only in his flying exploits, pushing the boundaries of human flight in an era where danger and death were the pilot’s close companions, but in his own personal ethics, an Austrian Jew who defied the Nazis by escaping to England to fly with the RAF during World War II. He could also write! This is an easy and compelling read, with a fantastic re-telling of his experiences such as his record-setting flights and travelling around Europe popularising the sport of soaring and gliding, but also the methodology and experience of designing and building these cutting-edge machines. Sadly, Kronfeld died shortly after the war testing a prototype tail-less glider. 

Reading this amazing book by another ‘RK’ struck home to me what a fascinating legacy gliding has. It is an endeavour without which all forms of flying would never have existed, and which counts very special people amongst those who are its enthusiasts. Architecture is often referred to as a merging of art and technology, but in my (non-professional) experience of aviation I would argue that in many aspects of its pursuit, it is easy to see how aeronautical engineering creativity can also be compared to artistic endeavour. In fact, this is true for many aspects of applied engineering, particularly in the sphere of vehicle design. Kronfeld’s life work is a great example of this; he was a pilot first, but his consummate understanding of aircraft technology pushed design development in the field forward enormously. No wonder he is an inspiration to the designer and pilot in me.

A Week in the Shard

The Shard, London ©Robert Kronenburg

The Shard, London ©Robert Kronenburg

I recently found out that I am one of six winners of an RIBA competition in which entrants were asked to reflect on the impact of the pandemic on their lives, practice and the general world of architecture. The winners will spend a week at The Shard, the 72-storey tower in central London designed by Renzo Piano, staying in the Shangri-La hotel which occupies floors 34-52, dedicating their time there to the ideas they submit. My proposal is to investigate the lock-down’s impact on London’s live music venues and evaluate ways in which they might be helped to recover. This was my submission:

Alongside my career as an architect and educator, for more than two decades I have been a semi-professional musician, playing with friends and bandmates to audiences in the bars, clubs, halls and other venues that form the support network for live entertainment. I have developed a strong respect for the venue operators, music promoters, and the wide range of enthusiastic, hard-working people who make these places possible. Fighting tough local authority controls and unfavourable economic realities, they are mostly not places that make their owners rich, but operations that are kept alive by the commitment of people who love what they do and believe in the social and artistic contribution they make to the urban identity of their neighbourhood and their city. 

About ten years ago I began writing and publishing studies of the buildings that provide the essential places for live music to be performed; not the well-funded officially approved concert auditoria, but the much smaller venues where popular music of all kinds is played to fans who like to dance and shout as well as sit and listen. Prior to the pandemic, these venues were already in crisis with more than 50% of Britain’s nightclubs closing in the last ten years. Pressures from enhanced licensing rules, sound-transmission regulations, and gentrification had led to many clubs becoming unviable. Now, the danger of losing these places has increased exponentially. If left unchecked this decline will lead to a profound impact on the way cities operate, both culturally and economically: who wants an urban centre that exists solely for shopping and commerce and is completely dead at night? Music venues are part of the matrix of night-time entertainment that supports pubs and restaurants, theatres and cinemas, each with their own locale in the city, each with their own time during the long night. Already existing on the edge of commercial viability, music venues will be the last to re-open and many have already closed for good. 

What can be done? Recognising what is happening and what might be lost is one way to help halt the decline. I don’t live or work in London, or even nearby and recently left my employer of more than twenty years. A week living in the city at the Shard would enable me to re-evaluate my own dual experience of architecture and music. After more than a year without live performance, I am more than ready to engage with London’s musical environments. I will visit buildings and neighbourhoods during the day and performances at night; see the city from above in the Shard where I will work writing up my experiences, and from street level in the bars, clubs, and halls where I will be able to talk to venue operators, musicians and audience members about making these places bounce back and what they need to help this process. I will write and publish, and make photographs and drawings, that will communicate the importance of this vital part of what makes London a great city. 

Unlocking Live Music

Pandemic buskers at Liverpool’s Pier Head ©Robert Kronenburg

Back in July 2020 the UK’s first official post-pandemic indoor live music performance took place in London when Beverley Knight performed live at the London Palladium in a pilot that would ostensibly show how music and theatrical events might be safely held under the government’s safety rules. Although this was at the time an encouraging sign that things might eventually get back to some semblance of normality, we now know too well how that turned out as Covid-19 infections once again escalated in the autumn. When Prime Minister Boris Johnson laid out the roadmap the Government proposed for the release of England’s third lock down on 22nd February 2021 it must have been incredibly disappointing to all those operating nightclubs that they would be the last to open no earlier than June 21. At the time of writing (March 2021) it is unclear if seated live music venues will be included in the theatre reopening (with half capacity) on May 17. Live music was once more ‘at the back of the queue’ even it is was predictable, with the potential virus transmission issues in confined spaces, that this would be the case.

In the first shock of the coronavirus lock-down live performance ceased completely and there is no doubt that as it has continued there has been great damage done to the economy of venues and the careers and livelihoods of performers. Musicians rely on live performance to earn a living: streaming services return pitifully small amounts to those who create their content. Nearly half of all Musicians’ Union members are ineligible for any of the government’s financial support schemes, and it is predicted that as many as 50% of the UK’s small music venues will fail to re-open again. However, as the restrictions have persisted there has been an ingenious response to continuing live performance by some musicians and promoters. The same software intended for video meetings (particularly Zoom) has proved adaptable to the creation of virtual live sets that also allow interaction between audiences and performers. Live streams via YouTube and other platforms have increased to support often intimate and engaging performances by individual artists, and these platforms have also been used to create virtual online festivals with multiple artists sharing the bill. These performances also provide an income stream by asking for donations or requiring the purchase of a relatively low-price ticket for entry. Collaborations and group performances have taken place via video conferencing software, recorded, edited and then broadcast via Twitter, Instagram etc., and sometimes released as new live albums on iTunes, Spotify etc. Even mainstream media has joined in, for example the Jools Holland show, usually a studio based live performance presentation has morphed into an online interview format with the featured artist choosing their favourite live performances from the show’s lengthy historic archive, sandwiched between new live performances from a guest artist recorded in their own home. 

What about performances with live audiences? It took a bit longer for these to begin again but in the Covid-19 summer of 2020, this did happen too. First were illegal events such as raves set up at short notice, usually in semi-rural locations gathering a crowd via social media. These have been very similar in format to the illegal raves that first happened in the 1980s that were subsequently replaced by commercial events in clubs and festivals. As professionally organised festivals were cancelled during the spring and summer, it is not surprising that conditions became fertile for unofficial ones to fill the gap, although the recklessness of those organising and attending these events cannot be justified when hundreds of people were losing their lives daily at a hospital nearby.

The first authorised outdoor concerts to take place proposed using car parks as ready-made socially distanced spaces where audiences would drive into the event and either stay in their car or party in their parking bay with the acts, albeit at some distance, live on stage. A specially constructed stage with platforms separating audience family groups was built in Gosforth, Newcastle. Like the London Palladium concert, efforts were made in the summer of 2020 to kick start live performances more like those we were used to just a few months ago; i.e. in indoor venues: theatres, halls and clubs although with restricted audiences, health checking, and deep cleaning of the facilities, however smaller venues never made it to this stage. The most consistent live music that appeared during 2020 was busking. Musicians with no stage to play took to the pavements more readily, entertaining diners and drinkers who were also forced more onto the streets closed to traffic by the more quick-to-act local authorities across Britain. A limited income no doubt, even for musicians whose pay prior to the pandemic was never very regular, however, at a local level it lifted audience spirits for sure. 

In normal times live music performance events are a regular occurrence, however, the cultural activities of the UK do seem to be an afterthought in central government, with the £1.57 billion rescue package for all aspects of artistic performance announced last summer (plus the £300 million top-up added in the recent budget) being acknowledged as far too little by the culture secretary, Oliver Dowden himself. However, with more creative thought from the authorities that now govern our public life, there could be many more ways in which it could start to happen outdoors in early Spring. The Musician’s Union call last summer for busking, pop-up gigs, and reduced capacity use in smaller venues, now needs to be revived as part of the path back.  A temporary outside venue for one hundred patrons is a lot easier and quicker to organise than a major festival so let it happen, if it could be organised safely. Using our urban streets, squares and parks is the key to providing new opportunities for the small venues and grass-roots artists who have been particularly hard hit in the lock-down and are looking likely to suffer most with the slow pace of return to ‘near-normal’ commercial activity. We are currently experiencing a confused approach to the use of our public spaces, as with bars and clubs closed, people take to organising their own parties outside, in some cases causing anti-social behaviour. Surely it would be better to provide an income stream for grass-roots venue owners, promoters, staging businesses, and musicians allowing them to organise official events with appropriate social-distancing and health and safety measures in place? The ‘Where We Stand’ project has asked designers to investigate how city spaces might be reorganised to provide visual systems that enable social distancing to take place for urban activities such as sport and performance. Specific places could be designated in parks and urban public spaces with new temporary facilities, such as social distancing marking for audiences, especially designed staging for performers, and easy to access ticketing arrangements. With the continuing online and unofficial live events that have managed to operate despite lock-down, performers and audiences have proven the social and cultural need for these events. The economic need is even more important if we are to protect the UK’s music industry, which employees hundreds of thousands of people and generates millions of pounds for the economy, until normality resume

Live performance is a crucial part of our social, economic, and cultural life. The ways in which it has managed to continue, quickly adapting to severe restrictions in these unprecedented conditions shows that. Now a route map has been announced the UK Government needs to provide details of how and when venues can reopen and complete their review of how large events such as concerts and festivals can begin operating again. Music business operators and artists need as much certainty as possible so they can plan. And last summer’s rescue package now needs to be added to with a renewed focus on resuscitating this country’s invaluable live music industry.

This Must Be The Place: CBGB and OMFUG

This Must Be The Place: An Architectural History of Popular Music Performance Venues

My book This Must Be The Place: An Architectural History of Popular Music Performance Venues (Bloomsbury, New York) is published today 7th March 2019. It tells the story of the places and spaces where popular music has been performed and appreciated since the mid 18th century to today. As a taster, here is a short excerpt about one of those places – hugely influential but as often happens, also ephemeral.

This is more of a pilgrimage than a night out. The outside of the venue is as I have seen it in pictures I have been looking at since the 1970s, fascinated by the roots of my favourite music of the time, in particular Talking Heads, but there were others I liked who also got their start here – The Ramones, Television, Patti Smith and Blondie. Although I had been to New York before I hadn’t made the effort to come this place, too intent on those earlier visits on what was currently happening at clubs like the Blue Note in Greenwich Village; Paris Blues up in Harlem; and the Knitting Factory when it was in the Bowery (the club is now in Brooklyn). But somehow, now in 2005, it seems important to go to CBGB, perhaps because it looks likely that the club may soon have to close.

CGBG and OMFUG (famously an acronym for Country, Bluegrass, Blues and Other Music for Uplifting Gormandizers) is an archetypal music venue that was opened by Hilly Kristal in 1973 on the site of his earlier bar Hilly’s. Situated in a four-storey brick building, upstairs was the Palace Hotel, a ‘flop house’ which Hilly described as an advantage as the ‘derelict, alcoholic, or drug-addict’ residents weren’t that bothered about having a rock club beneath where they slept (Kristal 1998). Kristal’s original intention for the club’s musical ambitions are obvious from its name, however, it instead became synonymous with the establishment of American punk rock, with many of the key exponents of this new music meeting there, seeing each other play in pre-punk bands, and influencing each other as the genre developed – CBGB is the archetypal venue in which a music scene was established and grew. Whilst disco had a hold in many New York clubs and hip hop was getting started in the Bronx, CBGB was a cheap place in a decaying part of the city that had a policy of ‘only original songs, no covers’, that brought in new guitar bands. Patti Smith recalls: ‘When we started building CBGB as a place to play, it was because there was no [other] place to play for people like us’. On 14 April 1974 Television’s first gig took place with Patti Smith in the audience. The Ramones first played there on 16 August 1974 (before Tommy joined) and on 16 August the following year Talking Heads and Blondie featured in the same show, though both bands were regulars by then. The Damned were the first British punk band to feature in April 1977 but others soon followed. In the 1990s the club became home to hardcore rock bands like Green Day, Sum 42, and Guns and Roses (in an acoustic set in CBGB Record Canteen, the storefront next door which Kristal opened for a time in the late 1980s) – all soon to become stadium filling acts.

In through the entrance, I’m surprised to see a shop selling merchandise – mainly racks of t-shirts in all colours stacked to the ceiling. The club itself is a long room, low lighting, seating on the left and bar on the right. Passing a huge mixing desk, I walk up between these two and its clear I’m early as the place isn’t even half full. I grab a beer and get a chair near the stage where a few people, obviously the first group on, are still adjusting their gear. The place is a mess, intentionally. Every surface is plastered with stickers, posters, and random graffiti, the floor is uneven, and in some places has holes plated with mis-shaped pieces of metal. The stage itself, crammed into the end of the room is at an odd angle to the standing area in front of it, with large speakers on either side and above the stage – they look loud just sitting there, although the current jukebox music appears to be coming from something else tiny and tinny. The toilets seem to be carved out of ancient stone and brick, though still plastered with stickers and graffiti. Hilly threatened to take the urinals to Los Vegas after the club closed, where he planned to open a new place. Tonight is a showcase so for a few dollars I get to see four new-ish bands. I assume at first these will be local, but when the first one starts they immediately announce they are from Philadelphia. Those speakers make a difference and the sound is great – David Byrne put it down to; ‘the amount of crap scattered everywhere, the furniture, the bar, the crooked uneven walls and looming ceiling made for both great sound absorption and uneven acoustic reflections – qualities one might spend a fortune to re-create in a recording studio… Because of the lack of reverberation, one could be fairly certain… that details of one’s music would be heard’. Like me, the band are also on a pilgrimage – to play CBGB before it closes. They are pretty good and when they finish the lead singer walks through the thin crowd passing out free sampler CDs – he’s obviously still pumped from standing on the stage of his heroes; “Can’t believe we actually did it…” he tells me “this must be the place”. I recognise the title of the Talking Heads tune, so we have that in common, but then I finally figure out why I am there too.

This must be the place where it happened, where all that music began, where the artists I admire played live to audiences who saw them first and recognised their qualities, who gave them the impetus to carry on and make more music that could communicate its value to people a long way from New York City, including me on the other side of the Atlantic Ocean. Although I didn’t get here for another three decades the bands did travel and I got to see some of them in Liverpool in the late 1970s (Talking Heads, Blondie and The Ramones all played Eric’s) and in some cases continued seeing them live in years to come (including Patti Smith with my two grown-up daughters in 2015). Like many others my own history is bound up in this music, and to visit the venue where it was originally played is to connect to something physical that somehow makes it real – not the actual musical experience, but still, I’m present in the place that represents its significance. Music is ephemeral – you listen to a song and then its past – a building is something more permanent, though often not completely so. As for the end of CBGB, a long running law suit was lost in 2006 and on 15 October that year the club closed, its last show featuring Patti Smith. At one stage during her performance she recited all the names of the musicians who had played in the club who had since died, forecasting the description of the club she penned a few years later in Just Kids, a place where; ‘…the sounds of a scene were emerging. Though no one knew it, the stars were aligning, the angels were calling’. Hilly Kristal passed away the following year. Since then the space has been a fashion store and a photography gallery, although there have been various concerts and one-off events that retain its name and in an ephemeral way, its ethos.

Although there is undoubtedly an element of nostalgia in fans’ affection for the places where the popular music they loved began, these places nevertheless possess real importance as they are sites of cultural development. They are crucial to the dissemination and continuation of their influence on that particular music style and its associated fashions and memes; as Sara Cohen has noted: ‘Live performance venues… act as a social hub of the scene, providing a space where musicians and musical styles can interact and where the scene is made more visible, physical and real’. They are locations in which events take place that shape how the world is today, how people behave, and how they think about their life and its meaning.

Thinking, Doing and Making at HELLO WOOD

Hello Wood ©Robert Kronenburg

Hello Wood ©Robert Kronenburg

This summer I spent eight hot days in rolling farmland a few hours from Lake Balaton in rural Hungary. Up a farm track, amidst a matrix of huge fields was a triangle of land which became, over just a few days, a real community, mostly created from scratch by the people who lived and worked there. The idea – originated by the team of architects and designers – was to create a village, designed, made and occupied by those involved in its construction – an experiment in rapid self-made development using simple materials but based on complex and sophisticated ideas of creativity, community, and habitation. Although the village was made in just a week, the process began much earlier when the Budapest-based HELLO WOOD team sent out a call for designers to apply to take part in their summer workshop project asking them to pitch an installation they would like to see realised as a contribution to this ‘instant’ village. Design teams suggested concepts, methodologies and prototype drawings at various stages of realisation all within the prime restriction that they had to be completed in one week using a labour force of students of unknown skill levels. After the teams were selected and advertised, students applied to take part making their own pitch for each individual project. At the beginning of July the HELLO WOOD team arrived on site, and for a week helped set up the infrastructure that would enable nearly 200 people to live on the remote site in relative comfort – a kitchen, sleeping huts and showers. Central to the site was a community barn which would be the location for all meetings, meals, and the ambitious lecture and discussion programme that would take place each evening. And there was entertainment… live music, a bar that seemingly never closed, parades, dancing, and an international soccer tournament (involving the participants).

Some design teams had been to HELLO WOOD before and some were new to the project, but this time the ambition was greater than ever before – to make a real community which over this short period would knit itself together through doing and making. Although many design teams had developed plans for what they wanted to achieve, most had not identified a site, and so one of the early tasks was a series of negotiations to establish who built what and where – the ambition always to relate the projects into a community setting. Though the thinking may have begun months before, this was a new stage in that process where real effort had to be put in by both designers and students (now builders) who had to learn new skills. In architecture schools the focus is on assembling experience and knowledge, which although engaged with the creation of built form, is primarily removed from the practicality of how it is actually achieved. Students are asked to design spaces and places which they may be able to appreciate as abstract form, but they can only speculate at in terms of the technology that is most appropriate for their realisation. Some make the effort to work in the building industry when not studying, and though this is of value, they are still mostly removed from design decisions. When they begin in architectural practice, they may if fortunate be taken to site to experience the meetings and inspections that are so crucial in realising the design as intended, however, it is a voyeuristic process. Building, real building were the student is working physically on site learning how to use the tools and materials involved in the creation of a building in which they also have a deep understanding of the design ambition is a rare experience. At HELLO WOOD that is what happens. A week of 10 hour days, 70+ hours hands-on working as a team, taking a building from the ground to topping out and occupation.

And these are not just sheds and shelters but structures with architectural ambition, that the designers are keen to see realised as a rare example of what they can achieve with an unfettered if not unrestricted design brief. The buildings and landscapes created during that hot summer week in rural Hungary were not just practical artefacts but imbued with symbol, meaning and purpose. Buildings and structures that responded to site and climate, function and materiality, human need and desire. For a new beginner architect to connect the three aspects of architecture (firmness, commodity and delight) they need to have first-hand experience of the complete process that leads to success – thinking, doing, making. The HELLO WOOD experience, with all its frustrations, fatigue, achievements and elation, provides an intensive opportunity for this.


Tiny House

Thoreau’s cabin at Waldon Pond ©Robert Kronenburg

One cold March a few years ago I was travelling through New England on a short holiday after a week’s work in New York. I didn’t have any rooms booked or arrangements made and this had led me on a round-about route driving towards towns that were previously just names, but were now places to me: Provincetown, Newport, and then Concord. What brought me there was a book I had read as a student that had affected me (and many others) deeply. Walden: A Life in the Woods (first published in 1854) was written by Henry David Thoreau about his experiences of building and then living in a simple cabin in 1845-7. It is in part a philosophical treatise about life and how to live it, but also an extremely practical guide to self-reliant rural existence. Not much over a mile from the town centre, I found Walden Pond still in existence (preserved since 1962 because of its link with Thoreau), and once I was in the woods that surrounded the water, it felt very easy to imagine what it was like there back in the nineteenth century. After the winter, the woods felt untended and torn about, with fallen trees across the narrow paths, crushed sodden leaves and mud underfoot. On a slight rise I found Thoreau’s tiny house – a very small rectangular building with a single window and door and a chimney rising from the rear. It felt incredible that it was still there, despite being located in what has now become in effect a city park. It didn’t look out of place, or out of time. It was wholly familiar, an archetypal form – the same sort of building can be found in woods, in fields, in gardens all over the world.

Recently, I have been updating my entries for the Encyclopedia of Vernacular Architecture of the World, which is to have a new edition. I also wanted to write a new one on the recent Tiny House movement. The Tiny House is a very small dwelling that provides comfort and security for its inhabitants at minimum cost. Often, though not always, these buildings are made from readily available, easily worked, commercially produced materials (particularly sawn timber) and built by their future occupant. They are usually single-space dwellings, sometimes with an open loft for sleeping reached by a ladder or steep stair. Off-grid houses utilise solar panels, wood burners, and bottled gas for energy needs and reclaimed water, chemical toilets or outhouses for sanitation, however, many are also connected permanently or temporarily to conventional services. The roots of the Tiny House are in the humble buildings that new settlers first built when homesteading North America in the 17th, 18th and 19th centuries – although it could be argued that they go back even further as these were based in turn on earlier European rural precedents. These were simple, often one-room buildings built on minimal stone foundations, made from local timber hewn to shape. Rather than the log cabin, it is the framed wooden building, clapboarded or shingled, with pitched roof that the contemporary Tiny House emulates. The historic model would have paper-lined or plastered interior walls, a stone chimney, a very small window or sometimes just a door for ventilation and light. Though modern buildings are often built to the same or better construction standard as full-size houses, contemporary Tiny House owners relate to the early settlers’ way of life using minimal resources. An important reference point is also Walden, as it was a precursor for advocating domestic sustainable responsibility. Tiny House builders and owners stress not only the economic benefits of living in this way (small if any mortgage, low day-to-day household costs), but also the ecological benefits of using minimal resources and stepping away from a consumer culture that appears to emphasise bigger is better. There is also a special sense of connection to a building they have made themselves, and even if they have used other people’s plans and commercially available components, houses are usually tuned to the needs of the builder/occupant.

Thoreau’s cabin has strong credentials for being the first genuine Tiny House, not because it was the first dwelling of its type – there were many more prototypes built centuries before – but because it was the first built in this way with the idea of creating a new lifestyle as an antidote to the rush of civilisation, though not as a refuge or hermitage. Of course the cabin I saw was not the original but a replica. In fact the site itself was lost until archaeological work in the 1940s by Roland Robbins rediscovered its location. Nevertheless, at Walden Pond I stood at the hut’s entrance and looked around imagining what it would have been like for Henry, doing his eccentric intellectual thing (and it was viewed as decidedly weird by his contemporaries). Thoreau was reconnecting with the roots of his country and the settlers which a couple of hundred years before him had done exactly the same thing he had, building small cabins in the country in order to found a new way of life. Writing about it in the way he did he was not looking backward but forward, contemplating and experimenting with new reasons why, if you could, it was important to build your own dwelling, make use of available resources sustainably, and live comfortably to have time to take pleasure in what you do.

Political Architecture: The ‘big’ and the ‘flexible’


Palace of the Parliament, Bucharest

Palace of the Parliament, Bucharest ©Robert Kronenburg

A few years ago I was in Bucharest helping judge a competition to design a large-scale temporary installation in one of the city’s squares. The organisers set the judging panel up in the Palace of the Parliament constructed in the 1990s with forced labour as the centrepiece of former dictator Nicolae Ceaușescu’s rebuilding of the city centre. It’s a big building. In fact it is the second largest administration building in the world (the Pentagon is bigger). No matching big entrance for us (although I suppose there must be one) as each day we entered through a small door at the back. Inside there was clearly plenty of available floor space to say the least. We worked on the upper level of a large open area. One corner had a very good photography exhibition in it, but it just filled one corner – the rest of the walls were blank, except for another corner where the competition panels were placed. One day they took us up to the roof of the building, passing through room after empty room, until we finally stood looking over the city – giant straight avenues (supposedly modelled on North Korea’s capital Pyongyang) leading away from the vast centrepiece on which we stood. This building project, regardless of what you thought of it in architectural (or humanitarian) terms, was undoubtedly a ‘big’ statement.


It’s obvious that this year has been a tumultuous one in terms of global politics. I was in Berlin that night in June when I heard my European citizenship was about to be taken away from me. The day of the result of the UK’s referendum on EU membership was a lovely late spring day. I walked through the beautiful rebuilt city, which has in most areas erased the signs of its terrible disputed past, though down near what was once Check-Point Charlie there are still some empty sites were the wall once was – some left on purpose as a reminder. When the Reichstag was rebuilt Norman Foster placed the debating chamber within a glass cupola intended to represent transparency in the new reunited German government. It shines out at night, an illuminated token of democracy – a clever gesture. In the UK we have also had some internal political change in recent years. Devolution has led to the creation of new parliament buildings in Cardiff, Wales (Richard Rogers), and Edinburgh, Scotland (Rafael Moneo), and the re-use of an old one – Stormont in Belfast, Northern Ireland. These new buildings have public areas in the debating chambers, as does London’s nineteenth century Palace of Westminster (the centre of UK government), and Washington DC’s US Capitol Building. The theory, incorporated into these nineteenth century buildings by the inclusion of a physical space for members of the public to watch what is going on, was that it would make the democratic process itself more open and by implication more accountable. These buildings are all statements, and as they are designed for the process of government, they are therefore political statements. But they are undeniably different from the ‘big’ statement that Ceaușescu instigated. Though each is quite large, and each has a powerful presence in the city landscape, the primary emotion upon seeing them for the first time is that they are not overwhelming, not impregnable. They are undoubtedly landmarks but not grotesque ones. It is interesting to do an anonymous survey of the government buildings of democratic versus totalitarian states – its easy to see which leaders favour democracy and which favour other less palatable systems. The conclusion is that ‘big’ control needs ‘big’ architectural statements to assert power and domination. These ‘big’ buildings are also trying to convey something else – permanence, reinforcing the ruler’s belief that the power they hold will last forever. Designing-in permanence is not easy, but creating rigidity and inflexibility is, and that is what this sort of architecture is very good at producing. Perhaps that is also a part of the brief… after all you don’t want people lower down the chain thinking for themselves and changing things.


A change of government in the democratic system isn’t always easy but it is remarkably flexible. The people vote, the politicians accept their fate, and prepare to move out of their homes of the past few years. Yes there might be some game playing (in 2001 the Democrat Clinton administration famously removed 62 computer keyboards when leaving the White House after Republican George Bush was elected) but the buildings of government administration are flexible enough to accommodate the needs of different political parties. Changes are made in detail for sure. Some sensitive British observers were upset that President Obama removed the bust of Winston Churchill after a makeover of his apartments (as if he doesn’t he have the right to surround himself with the objects that inspire him). It is with interest (and some say trepidation) to see what the new President Elect of the United States does with the buildings under his control in the coming months and years, after all in his professional life he has had more to do with building than any past-President since Thomas Jefferson. Don and Mel will want to redecorate for sure and if the Trump Corporation’s other developments are anything to go by I bet its going to be more glitzy than anything we have seen in recent times. US manufacturers of gold paint better get ready for a big order. However, I hope and believe that the democratic process inherent in the US system will not be requiring any new ‘big’ architectural statements (walls and infrastructure promises aside) to be erected in Washington DC in the next four years before change comes along again. The elected government of Romania has struggled to find a proper use for their ‘big’ Palace (although well done them for refusing to sell it to Rupert Murdoch in the 1990s, another ‘big’ guy), but structures like that are hard to knock down – culturally as well as physically. How do you make a statement that everything that has happened in the last few decades was worthless? Isn’t that the same as the dictator who destroyed whole parts of the city in the first place? The only thing that can be done is to look for an ingenious solution, hopefully one that is flexible enough to respond to future change easily and democratically, and that change to be accessible to and activated by the general population.

Ephemeral Cities

St.Giles Fair, Oxford, 2004. A fair has been held in this location since the 17th Century.

St.Giles Fair, Oxford, 2004. A fair has been held in this location since the 17th Century.

In the late 1970s, when I was a student of architecture, I took part in a school trip to Paris. The staff had arranged visits to what they considered important buildings: Villa Savoye (we were impressed), the new Ricardo Bofill’s apartment blocks at Noisy-le-Grand (bizarre to us but soon to be the location for Terry Gilliam’s fun sci-fi film Brazil, after which it all seemed to make sense), and La Défense (before its most famous addition La Grande Arche). There were many other visits, which I can no longer recall; after all they were busy days experiencing fascinating, if not always memorable, architecture. In the evenings we were left to our own devices, making our way between cheap bars back to cheaper hotels in the centre of the city. On one of these evenings my friends and I were wandering through the dark, wet and empty October streets in the general direction of our hotel, when we came across a sight that has stuck with me vividly these past forty years, and has helped shape my career in architecture.


Turning down a narrow alley we became aware of music and light appearing in a gap between the mostly closed and shuttered buildings. As we got closer the tinny sound of French pop music, combined with a mechanical rattling, became louder. We emerged into a junction of four or five narrow streets defining an informal square bounded by tall houses with the usual Parisian mix of bars, bistros and local shops at ground level. In the square was a small fairground of traditional rides still touting for business on this cold rainy night, although it was late and there were not many people around. Though there were only three or four rides, their bustling presence seemed enough to entirely fill the compact square. The roundabout was still twirling around, its painted horses rising and falling with just one or two riders, and although the other rides were static they were still illuminated with flashing and twinkling lights, their roustabouts waiting for the last few punters before closing for the night. The loud Europop bounced off the buildings, raucous and out of place with the nineteenth century ambience of the scene, but adding power to the almost surreal experience we all felt. Music, lights, and movement were set against the dark silhouette of the static, yet characterful buildings. In the dark, damp city the appearance of the fair seemed both incongruous and joyful, exotic and full of life, it represented colour, entertainment and pleasure, right on the local residents’ doorstep. We lingered for a while though no one took a photograph or hitched a ride on the horses or the waltzer – then we left for our beds after a long day. Having initially found it completely by accident, the next evening we were drawn back to the square, to find the wet pavements empty save for a few parked cars – the fair had moved on leaving the neighbourhood to its usual quiet existence – even the bars were closed this time.


This was perhaps the first time that I recognised the enormous power that resides in the ephemeral event. An altogether normal place in the city had become somewhere very special for a brief moment in time – special enough that it has remained firmly in my memory for all these years. Though for us its presence was a happy accident, the small urban fair in that square in Paris needed a bureaucrat’s approval to take place, it’s operators to deliver and manage it, the tolerance of locals to let it happen, and it needed people to visit and pay for the rides. It was created in the tradition of travelling fairs that have moved around Europe for centuries, and continue to do so. The urban arts and music festivals that take place in our cities today relate in concept and effect to these fairs, sometimes with even more resonance for local populations if they adopt important public spaces, and their content relates to regional identities. Their ability to change these spaces temporarily, and to create permanent memories of this change has, like the tradition of the fairs of the past, recognisable value in terms of place making. They might be described as ‘ephemeral cities’ that exist alongside the permanent backdrop that we see every day, and remain in our memories for as long as the permanent ones. They are a key element in making us feel that our urban space belongs to us, is managed for us, and is responsive to our imagination and needs. They make the city a fun place to be, a place of surprise, and a place endowed with powerful, positive memories.

What Makes a Music City?

The Trading Ground, Face the Music Conference, Melbourne

The Trading Ground, Face the Music Conference, Melbourne

‘Music City’ is a term that seems to be coming more and more common. Once it might have been used to loosely describe a place that has a good vibe for popular music activity – fun venues, a lively local pub, a place where visiting acts liked to play, but now it has come to mean something more specific, something more aspirational – a term that indicates value rather than type. A ‘Music City’ now indicates a place that engages with popular music as a key part of its identity. It’s a city that recognises its musical heritage as something important in its history. It distinguishes music events as key elements in its cultural activity. It also characterises the music industry as something positive and beneficial. At certain times in history some cities have had undeniable associations with music activity – Liverpool and Merseybeat, Berlin and Techno, Memphis and Blues. The US city Nashville has probably the greatest claim to being the original music city, home to the first international globalisation of a popular music style via the syndication of the Grand Ole Opry country music radio show across the US and Canada in the 1920s. It was here in the 1950s that the term ‘Music City’ was first attached to Nashville by announcer David Cobb on WSM-AM.

I have just returned from another ‘Music City’ and one that also relishes country music (amongst lots of other styles…) – Melbourne, Australia. Just from the statistics it would seem that Melbourne’s right to the title is justified – with 470 venues and over 62,000 gigs a year there is plenty going on. Though it has its big stages, both in and outdoor, most of these venues are smaller – in music rooms of pubs and in clubs. Last week was Melbourne Music Week, which has a tradition of adding to the list of venues by creating a new, distinctive one, just for the festival. This time it was in the former Royal Women’s Hospital, built in the 1970s and closed now for seven years, where a cavernous concrete basement function room was tricked up with lights, a bar, temporary seating and air-con to deliver an atmospheric stage for a week’s worth of performances. Upstairs on the street alongside the entrance, trailers and mobile kitchens were parked to provide drinks, food, ticketing and a place to sit and chat or listen to a DJ. It wasn’t the only temporary venue built during the week. The Face the Music industry conference was simultaneously taking place in the Melbourne Arts Centre, but behind this smart location, on a scrap of unused land, The Trading Ground was erected from more trailers, shipping pallets, and shipping containers – one of which formed a seemingly continuously occupied stage treating delegates to original live music throughout the day.

As well as Face the Music and Music Week, the city also delivered a town hall initiative – the Melbourne Music Symposium, a gathering of musicians, venue owners and managers, entertainment policy makers, academics and a few invitees like me who had experience or expertise from other places. The idea was to workshop the concept of ‘what makes a great music city’ and much of what was discussed focussed on the problems that the local scene faces, for example gentrification closing down older historic venues and pricing out musicians’ from local housing. There was, however, a general, almost tacit, understanding that popular music performance is ‘good’ for a city, and the activity it generates forms a good attractor for both tourists and people wanting to work and live there. However, there was also the real fear that it is seen as something that ‘just happens’, that punters perceive it as a benefit that has no cost – unless you are heading over to the arena to see a headlining act. The people in the town hall that day, all at the coalface of the industry, knew different. Popular music events require hard work by hard-working people. To happen they need skill and ingenuity to create the new places in the city that audiences flock to – places that have long lasting, though sometimes hard to trace effects. For example, the Royal Women’s Hospital re-use draws attention to a city resource waiting for something to happen. Melbourne Music Week 2014 used the Queen Victoria Market as its flagship venue and a year on a renewal master plan has been adopted and work is programmed to start in 2016.

From a musician’s (and many audience member’s) point of view, the key thing is having somewhere to play that is affordable with a crowd receptive to what you have to offer. This is provided by venues like The Tote (and Max Watts, The Prince of Wales, and The Corner Hotel, all of which I visited in a busy few days). Run by Jon Perring it is a typical Victorian era corner pub in the Collingwood neighbourhood of Melbourne and yet it has three music spaces operating within its walls – the front bar, a main stage with adjoining garden, and an upstairs space. Its not smart but its very active, it has a predominant music style which the bands and artists are always breaking out of, there is something almost always on so you can just turn up and see what is happening. Its there because Jon and his partners/helpers have carefully managed its existence over twenty years fighting detrimental local government policy, financial disaster, and changing liquor and health and safety regulations. The Tote is a pivotal place in the history of popular music performance because when threatened with closure in 2010 due to controversial changes in licencing laws, it formed the centrepiece of a grass roots struggle to preserve live music in Melbourne. The Tote is the sort of operation from which musical activity grows, spills into downtown venues, festival stages, and eventually, the arenas. There is no doubt that its existence, and the others like it (including many of the other 466 in Melbourne alone that I haven’t mentioned), are what lie at the heart of what makes a Music City. Every ‘music city’ has them, the Cavern in Liverpool, CBGB’s in New York, 100 Club in London. Only a few become famous (and even these are not immune from closure), but without their continued operation it is certain that no city can continue to call itself a ‘Music City’ or perhaps more significantly, a ‘Musician’s City’.

The Tote, Collingwood, Melbourne

The Tote, Collingwood, Melbourne