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    <description>Provocative and irreverent architectural talk series hosted in East London  by Straight Talking Architecture Practice Fourth_space</description>
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    <pubDate>Fri, 17 Oct 2025 13:46:34 +0000</pubDate>
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    <itunes:summary>Provocative and irreverent architectural talk series hosted in East London  by Straight Talking Architecture Practice Fourth_space</itunes:summary>
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    <itunes:keywords>architecture urbanism</itunes:keywords>
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      <title>Negroni Talks #55 - Architecture As Algorithm: The Demise of Design?</title>
      <itunes:episode>67</itunes:episode>
      <podcast:episode>67</podcast:episode>
      <itunes:title>Negroni Talks #55 - Architecture As Algorithm: The Demise of Design?</itunes:title>
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        <![CDATA[<p><strong>Architecture As Algorithm: The Demise of Design?</strong></p><p>As AI storms the gates of the architectural profession, building designers like many other creatives are rightfully asking: “are we already halfway to being replaced?” If intelligence is artificial and algorithms are filtering and fucking with our view of reality, then what is the truth about the future of architects and architecture?</p><p>With computers now used to quickly generate fantastical buildings with multiple options and easily made mashups of any ‘style’, there are the obvious questions of authenticity, authorship and surface imagery over core ideology. In a more prosaic manner, AI soon may well be able to ‘create’ buildings based on a whole range of criteria, be that the constraints imposed by planning policies, building regulations, lowering build costs, meeting performance accreditation and ensuring the basic practicalities of use. However, is there really much difference between the novelty of neural networks and the long-standing systemisation of the design process through Building Information Modelling (BIM) software used by the profession? And is this rules-based order where a problem lies?</p><p>Architects find themselves cornered not only by the machines that threaten to replace them, but by their fellow human beings, who upon looking around at the anonymous sameness within the contemporary built environment, could be forgiven for asking whether the profession has opened the door to its own obsolescence? </p><p>When investment driven metrics deem that the ideal building form is that of extruding the site footprint skyward into as many stories as possible, then does a culture of repetitious templating and unitised, risk-adverse design feed a crisis of confidence/courage in Architects and The Public alike? Does anyone believe that the profession will be able to deliver truly humane and inspiring places for a future world? </p><p>In providing a service do architects end up in servitude? Many will see their main utility as an enabler, but in looking to ‘be as useful as possible’ have they in turn become a tool and a means to an end - and if so, to what end? They maybe all tooled up, but are they able to use their full imagination and skill-set?</p><p>At a time when, more than ever, we desperately need alternatives and lateral thinking to bring about change, is the revitalisation of the more romantic role of architect as a principled visionary and revolutionary increasingly necessary to advance and progress building design in a meaningful way? And will AI be put to work on this task?</p><p>At the heart of these questions is something seen throughout the history of technological progress since ‘the inventions’ of fire and the wheel.  Humankind has continually created new tools and techniques to open-up the field of possibility. Technology is about achieving practical goals. If AI can do things quicker, more calculatingly and uncompromised by the human element, then does this suggest that we humans should be concentrating more on <em>what</em> the goals should be, if we are to ensure we better address the issues and concerns manifest in our built environment? </p><p><strong>Featuring:<br></strong><br></p><p>Rob Fiehn &amp; Huw Williams, Fourthspace (chair)<br>Jay Morton, Bell Phillips<br>William Mann, Witherford Watson Mann<br>Adrienne Lau, Heatherwick Studio<br>Eva Magnisali, DataForm Lab                                                                                                                                                                       <br>Fernando Ruiz, Arup (replacement of Giulio Antonutto)                                                                                                                                                                                                                                                            <em>and all others who want to contribute</em>…..  </p>]]>
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        <![CDATA[<p><strong>Architecture As Algorithm: The Demise of Design?</strong></p><p>As AI storms the gates of the architectural profession, building designers like many other creatives are rightfully asking: “are we already halfway to being replaced?” If intelligence is artificial and algorithms are filtering and fucking with our view of reality, then what is the truth about the future of architects and architecture?</p><p>With computers now used to quickly generate fantastical buildings with multiple options and easily made mashups of any ‘style’, there are the obvious questions of authenticity, authorship and surface imagery over core ideology. In a more prosaic manner, AI soon may well be able to ‘create’ buildings based on a whole range of criteria, be that the constraints imposed by planning policies, building regulations, lowering build costs, meeting performance accreditation and ensuring the basic practicalities of use. However, is there really much difference between the novelty of neural networks and the long-standing systemisation of the design process through Building Information Modelling (BIM) software used by the profession? And is this rules-based order where a problem lies?</p><p>Architects find themselves cornered not only by the machines that threaten to replace them, but by their fellow human beings, who upon looking around at the anonymous sameness within the contemporary built environment, could be forgiven for asking whether the profession has opened the door to its own obsolescence? </p><p>When investment driven metrics deem that the ideal building form is that of extruding the site footprint skyward into as many stories as possible, then does a culture of repetitious templating and unitised, risk-adverse design feed a crisis of confidence/courage in Architects and The Public alike? Does anyone believe that the profession will be able to deliver truly humane and inspiring places for a future world? </p><p>In providing a service do architects end up in servitude? Many will see their main utility as an enabler, but in looking to ‘be as useful as possible’ have they in turn become a tool and a means to an end - and if so, to what end? They maybe all tooled up, but are they able to use their full imagination and skill-set?</p><p>At a time when, more than ever, we desperately need alternatives and lateral thinking to bring about change, is the revitalisation of the more romantic role of architect as a principled visionary and revolutionary increasingly necessary to advance and progress building design in a meaningful way? And will AI be put to work on this task?</p><p>At the heart of these questions is something seen throughout the history of technological progress since ‘the inventions’ of fire and the wheel.  Humankind has continually created new tools and techniques to open-up the field of possibility. Technology is about achieving practical goals. If AI can do things quicker, more calculatingly and uncompromised by the human element, then does this suggest that we humans should be concentrating more on <em>what</em> the goals should be, if we are to ensure we better address the issues and concerns manifest in our built environment? </p><p><strong>Featuring:<br></strong><br></p><p>Rob Fiehn &amp; Huw Williams, Fourthspace (chair)<br>Jay Morton, Bell Phillips<br>William Mann, Witherford Watson Mann<br>Adrienne Lau, Heatherwick Studio<br>Eva Magnisali, DataForm Lab                                                                                                                                                                       <br>Fernando Ruiz, Arup (replacement of Giulio Antonutto)                                                                                                                                                                                                                                                            <em>and all others who want to contribute</em>…..  </p>]]>
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      <pubDate>Fri, 17 Oct 2025 13:46:26 +0000</pubDate>
      <author>Fourth_space</author>
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        <![CDATA[<p><strong>Architecture As Algorithm: The Demise of Design?</strong></p><p>As AI storms the gates of the architectural profession, building designers like many other creatives are rightfully asking: “are we already halfway to being replaced?” If intelligence is artificial and algorithms are filtering and fucking with our view of reality, then what is the truth about the future of architects and architecture?</p><p>With computers now used to quickly generate fantastical buildings with multiple options and easily made mashups of any ‘style’, there are the obvious questions of authenticity, authorship and surface imagery over core ideology. In a more prosaic manner, AI soon may well be able to ‘create’ buildings based on a whole range of criteria, be that the constraints imposed by planning policies, building regulations, lowering build costs, meeting performance accreditation and ensuring the basic practicalities of use. However, is there really much difference between the novelty of neural networks and the long-standing systemisation of the design process through Building Information Modelling (BIM) software used by the profession? And is this rules-based order where a problem lies?</p><p>Architects find themselves cornered not only by the machines that threaten to replace them, but by their fellow human beings, who upon looking around at the anonymous sameness within the contemporary built environment, could be forgiven for asking whether the profession has opened the door to its own obsolescence? </p><p>When investment driven metrics deem that the ideal building form is that of extruding the site footprint skyward into as many stories as possible, then does a culture of repetitious templating and unitised, risk-adverse design feed a crisis of confidence/courage in Architects and The Public alike? Does anyone believe that the profession will be able to deliver truly humane and inspiring places for a future world? </p><p>In providing a service do architects end up in servitude? Many will see their main utility as an enabler, but in looking to ‘be as useful as possible’ have they in turn become a tool and a means to an end - and if so, to what end? They maybe all tooled up, but are they able to use their full imagination and skill-set?</p><p>At a time when, more than ever, we desperately need alternatives and lateral thinking to bring about change, is the revitalisation of the more romantic role of architect as a principled visionary and revolutionary increasingly necessary to advance and progress building design in a meaningful way? And will AI be put to work on this task?</p><p>At the heart of these questions is something seen throughout the history of technological progress since ‘the inventions’ of fire and the wheel.  Humankind has continually created new tools and techniques to open-up the field of possibility. Technology is about achieving practical goals. If AI can do things quicker, more calculatingly and uncompromised by the human element, then does this suggest that we humans should be concentrating more on <em>what</em> the goals should be, if we are to ensure we better address the issues and concerns manifest in our built environment? </p><p><strong>Featuring:<br></strong><br></p><p>Rob Fiehn &amp; Huw Williams, Fourthspace (chair)<br>Jay Morton, Bell Phillips<br>William Mann, Witherford Watson Mann<br>Adrienne Lau, Heatherwick Studio<br>Eva Magnisali, DataForm Lab                                                                                                                                                                       <br>Fernando Ruiz, Arup (replacement of Giulio Antonutto)                                                                                                                                                                                                                                                            <em>and all others who want to contribute</em>…..  </p>]]>
      </itunes:summary>
      <itunes:keywords>AI architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
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      <title>Negroni Talks #S19 - Keepin’ It Up: What Does It Actually Mean For A Building To Perform? </title>
      <itunes:episode>66</itunes:episode>
      <podcast:episode>66</podcast:episode>
      <itunes:title>Negroni Talks #S19 - Keepin’ It Up: What Does It Actually Mean For A Building To Perform? </itunes:title>
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        <![CDATA[<p>The building industry has a huge impact in the context of carbon emissions, energy consumption and climate change. Whilst ‘adaptive reuse’ has become a buzzword with louder calls for upgrading, renovating and converting existing buildings instead of creating <em>more</em> new buildings, a culture of demolition persists.</p><p>With new-build being seen as an easier way to meet increasingly demanding requirements, how can we really improve the overall performance of our built environment if we don’t address the inefficiencies and wastage associated with the dated fabric of our existing building stock throughout the nation? Equally, do we truly value the qualities that existing buildings offer: embodied energy, cultural memory, material richness, spatial character and social continuity?</p><p>With the architecture and construction industries consumed by chasing accreditation, tick-box targets and marketable metrics, we should ask ourselves whether we remain clear-eyed and focused on empirical data? Are we in danger of over-complicating things and losing sight of those first principles found within indigenous buildings over millennia? Additionally, are the very criteria by which we measure how well a building performs too narrow in scope? </p><p>Understandably there is a great deal of importance placed upon ‘being green’ and being good on (that other curious term) ‘sustainability’. But what if a high-performance building with progressive material credentials, also creates problems in other areas such as furthering social inequality? What happens if we consider that causing environmental harm is more nuanced than the notion of artificial buildings sat within a natural world? </p><p>A building’s very existence has implications and consequences. Whilst some will benefit others can become disadvantaged. Should its performance then be deemed to be purely a technical issue, or do we need to consider what else it is doing be that locally, communally, socially, economically, politically, culturally, historically, naturally, emotionally, psychologically, metaphysically? </p><p>How Performative is Building Performance?</p><p><strong>Featuring:<br></strong><br></p><p>Rob Fiehn &amp; Huw Williams (chair)<br>Wolf Mangelsdorf, Buro Happold<br>Becci Taylor, Arup <br>Rod Heyes, Architectural Association<br>Neal Shasore, Architectural Heritage Fund                                                                                                                                                                                                                                  <em>and all others who want to contribute</em>…..  </p>]]>
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        <![CDATA[<p>The building industry has a huge impact in the context of carbon emissions, energy consumption and climate change. Whilst ‘adaptive reuse’ has become a buzzword with louder calls for upgrading, renovating and converting existing buildings instead of creating <em>more</em> new buildings, a culture of demolition persists.</p><p>With new-build being seen as an easier way to meet increasingly demanding requirements, how can we really improve the overall performance of our built environment if we don’t address the inefficiencies and wastage associated with the dated fabric of our existing building stock throughout the nation? Equally, do we truly value the qualities that existing buildings offer: embodied energy, cultural memory, material richness, spatial character and social continuity?</p><p>With the architecture and construction industries consumed by chasing accreditation, tick-box targets and marketable metrics, we should ask ourselves whether we remain clear-eyed and focused on empirical data? Are we in danger of over-complicating things and losing sight of those first principles found within indigenous buildings over millennia? Additionally, are the very criteria by which we measure how well a building performs too narrow in scope? </p><p>Understandably there is a great deal of importance placed upon ‘being green’ and being good on (that other curious term) ‘sustainability’. But what if a high-performance building with progressive material credentials, also creates problems in other areas such as furthering social inequality? What happens if we consider that causing environmental harm is more nuanced than the notion of artificial buildings sat within a natural world? </p><p>A building’s very existence has implications and consequences. Whilst some will benefit others can become disadvantaged. Should its performance then be deemed to be purely a technical issue, or do we need to consider what else it is doing be that locally, communally, socially, economically, politically, culturally, historically, naturally, emotionally, psychologically, metaphysically? </p><p>How Performative is Building Performance?</p><p><strong>Featuring:<br></strong><br></p><p>Rob Fiehn &amp; Huw Williams (chair)<br>Wolf Mangelsdorf, Buro Happold<br>Becci Taylor, Arup <br>Rod Heyes, Architectural Association<br>Neal Shasore, Architectural Heritage Fund                                                                                                                                                                                                                                  <em>and all others who want to contribute</em>…..  </p>]]>
      </content:encoded>
      <pubDate>Tue, 30 Sep 2025 16:29:21 +0000</pubDate>
      <author>Fourth_space</author>
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      <itunes:author>Fourth_space</itunes:author>
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        <![CDATA[<p>The building industry has a huge impact in the context of carbon emissions, energy consumption and climate change. Whilst ‘adaptive reuse’ has become a buzzword with louder calls for upgrading, renovating and converting existing buildings instead of creating <em>more</em> new buildings, a culture of demolition persists.</p><p>With new-build being seen as an easier way to meet increasingly demanding requirements, how can we really improve the overall performance of our built environment if we don’t address the inefficiencies and wastage associated with the dated fabric of our existing building stock throughout the nation? Equally, do we truly value the qualities that existing buildings offer: embodied energy, cultural memory, material richness, spatial character and social continuity?</p><p>With the architecture and construction industries consumed by chasing accreditation, tick-box targets and marketable metrics, we should ask ourselves whether we remain clear-eyed and focused on empirical data? Are we in danger of over-complicating things and losing sight of those first principles found within indigenous buildings over millennia? Additionally, are the very criteria by which we measure how well a building performs too narrow in scope? </p><p>Understandably there is a great deal of importance placed upon ‘being green’ and being good on (that other curious term) ‘sustainability’. But what if a high-performance building with progressive material credentials, also creates problems in other areas such as furthering social inequality? What happens if we consider that causing environmental harm is more nuanced than the notion of artificial buildings sat within a natural world? </p><p>A building’s very existence has implications and consequences. Whilst some will benefit others can become disadvantaged. Should its performance then be deemed to be purely a technical issue, or do we need to consider what else it is doing be that locally, communally, socially, economically, politically, culturally, historically, naturally, emotionally, psychologically, metaphysically? </p><p>How Performative is Building Performance?</p><p><strong>Featuring:<br></strong><br></p><p>Rob Fiehn &amp; Huw Williams (chair)<br>Wolf Mangelsdorf, Buro Happold<br>Becci Taylor, Arup <br>Rod Heyes, Architectural Association<br>Neal Shasore, Architectural Heritage Fund                                                                                                                                                                                                                                  <em>and all others who want to contribute</em>…..  </p>]]>
      </itunes:summary>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
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      <title>Negroni Talks #54 - HOME ECONOMICS: Short Term Gain or Longer Term Pain?</title>
      <itunes:episode>65</itunes:episode>
      <podcast:episode>65</podcast:episode>
      <itunes:title>Negroni Talks #54 - HOME ECONOMICS: Short Term Gain or Longer Term Pain?</itunes:title>
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        <![CDATA[<p><strong><br>HOME ECONOMICS: Short Term Gain or Longer Term Pain?</strong></p><p><em>The City</em> has always maintained a duality as a permanent place of impermanence, with the perpetual comings and goings of buildings, people and concerns. Yet within this state of flux individuals of all backgrounds have consistently managed to find for themselves a sense of rootedness and community, despite the anonymity of strangers or how temporal the environment may be.</p><p>However, there is an increasing sense that the modern city is failing to provide for many of its residents and that in the competitive global marketplace, it has concentrated more on making itself attractive for the foreign investor and the tourist dollar. With regulation and restriction seen for decades as detrimental to economic prosperity, has civic governance around the world ignored the costs of living in the city for its own citizens?</p><p>We’re witnessing a profound shift in how urban housing is conceived, valued and occupied, which is raising urgent questions about equity, belonging and the future of neighbourhood. Airbnb exemplifies how much homes have been turned into a highly profitable commodity, whereby the urban realm is being reshaped to suit the needs of the temporary occupier on a permanent vacation. As landlords, investors and developers chase commitment free and easier made profits, the traditional notion of the home as a stable, secure and private sanctuary is giving way to something far more precarious. This model of housing is no longer seen as good for business, so build to rent, short-term tenancy’s, co-living and student housing abound.</p><p>Recently, in reaction to these trends, cities such as Barcelona have begun to fight back, phasing out short-term lets by 2028 in a bid to rescue housing from the grip of tourism. In New York, a de facto ban on most Airbnb’s has led to a dramatic drop in listings, but with little sign that general housing affordability has improved, prompting a deeper reckoning with the structural forces at play. Meanwhile, in the UK and beyond, housing benefit claimants and asylum seekers are expensively warehoused in hotels and B&amp;B’s – the extreme end of a system built around temporary occupation. </p><p>What does it mean when our built environment is designed as an asset that needs to extract as much money from people as possible? Can we create neighbourhoods that are affordable and truly lived-in when homes are treated first and foremost as revenue streams? And how has this shift altered the role of the architect, planner and policymaker; forced to design for churn rather than community?</p><p>The lifeblood of a city relies on all demographics of society and those millions of day-to-day transactions that people make through organisations, professions, services, institutions and the arts, in which everyone offers their contribution toward the culture of a place. So where is the offer of ‘the fairly-priced’ in today’s housing system? And what kind of city are we really building when no one can afford to stay?</p><p><strong>Featuring:<br></strong><br></p><p>Rob Fiehn &amp; Huw Williams (chair)<br>Yolande Barnes, University College London<br>Riëtte Oosthuizen, HTA Desig<br>David Perez, Ackroyd Lowrie<br>Stephen Porter, Here Residential                                                                                 <br>Chris Bailey, Action on Empty Homes                                                                                                                                                      <br> <em>and all others who want to contribute</em>….. </p>]]>
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        <![CDATA[<p><strong><br>HOME ECONOMICS: Short Term Gain or Longer Term Pain?</strong></p><p><em>The City</em> has always maintained a duality as a permanent place of impermanence, with the perpetual comings and goings of buildings, people and concerns. Yet within this state of flux individuals of all backgrounds have consistently managed to find for themselves a sense of rootedness and community, despite the anonymity of strangers or how temporal the environment may be.</p><p>However, there is an increasing sense that the modern city is failing to provide for many of its residents and that in the competitive global marketplace, it has concentrated more on making itself attractive for the foreign investor and the tourist dollar. With regulation and restriction seen for decades as detrimental to economic prosperity, has civic governance around the world ignored the costs of living in the city for its own citizens?</p><p>We’re witnessing a profound shift in how urban housing is conceived, valued and occupied, which is raising urgent questions about equity, belonging and the future of neighbourhood. Airbnb exemplifies how much homes have been turned into a highly profitable commodity, whereby the urban realm is being reshaped to suit the needs of the temporary occupier on a permanent vacation. As landlords, investors and developers chase commitment free and easier made profits, the traditional notion of the home as a stable, secure and private sanctuary is giving way to something far more precarious. This model of housing is no longer seen as good for business, so build to rent, short-term tenancy’s, co-living and student housing abound.</p><p>Recently, in reaction to these trends, cities such as Barcelona have begun to fight back, phasing out short-term lets by 2028 in a bid to rescue housing from the grip of tourism. In New York, a de facto ban on most Airbnb’s has led to a dramatic drop in listings, but with little sign that general housing affordability has improved, prompting a deeper reckoning with the structural forces at play. Meanwhile, in the UK and beyond, housing benefit claimants and asylum seekers are expensively warehoused in hotels and B&amp;B’s – the extreme end of a system built around temporary occupation. </p><p>What does it mean when our built environment is designed as an asset that needs to extract as much money from people as possible? Can we create neighbourhoods that are affordable and truly lived-in when homes are treated first and foremost as revenue streams? And how has this shift altered the role of the architect, planner and policymaker; forced to design for churn rather than community?</p><p>The lifeblood of a city relies on all demographics of society and those millions of day-to-day transactions that people make through organisations, professions, services, institutions and the arts, in which everyone offers their contribution toward the culture of a place. So where is the offer of ‘the fairly-priced’ in today’s housing system? And what kind of city are we really building when no one can afford to stay?</p><p><strong>Featuring:<br></strong><br></p><p>Rob Fiehn &amp; Huw Williams (chair)<br>Yolande Barnes, University College London<br>Riëtte Oosthuizen, HTA Desig<br>David Perez, Ackroyd Lowrie<br>Stephen Porter, Here Residential                                                                                 <br>Chris Bailey, Action on Empty Homes                                                                                                                                                      <br> <em>and all others who want to contribute</em>….. </p>]]>
      </content:encoded>
      <pubDate>Thu, 28 Aug 2025 15:03:22 +0000</pubDate>
      <author>Fourth_space</author>
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      <itunes:author>Fourth_space</itunes:author>
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      <itunes:duration>5982</itunes:duration>
      <itunes:summary>
        <![CDATA[<p><strong><br>HOME ECONOMICS: Short Term Gain or Longer Term Pain?</strong></p><p><em>The City</em> has always maintained a duality as a permanent place of impermanence, with the perpetual comings and goings of buildings, people and concerns. Yet within this state of flux individuals of all backgrounds have consistently managed to find for themselves a sense of rootedness and community, despite the anonymity of strangers or how temporal the environment may be.</p><p>However, there is an increasing sense that the modern city is failing to provide for many of its residents and that in the competitive global marketplace, it has concentrated more on making itself attractive for the foreign investor and the tourist dollar. With regulation and restriction seen for decades as detrimental to economic prosperity, has civic governance around the world ignored the costs of living in the city for its own citizens?</p><p>We’re witnessing a profound shift in how urban housing is conceived, valued and occupied, which is raising urgent questions about equity, belonging and the future of neighbourhood. Airbnb exemplifies how much homes have been turned into a highly profitable commodity, whereby the urban realm is being reshaped to suit the needs of the temporary occupier on a permanent vacation. As landlords, investors and developers chase commitment free and easier made profits, the traditional notion of the home as a stable, secure and private sanctuary is giving way to something far more precarious. This model of housing is no longer seen as good for business, so build to rent, short-term tenancy’s, co-living and student housing abound.</p><p>Recently, in reaction to these trends, cities such as Barcelona have begun to fight back, phasing out short-term lets by 2028 in a bid to rescue housing from the grip of tourism. In New York, a de facto ban on most Airbnb’s has led to a dramatic drop in listings, but with little sign that general housing affordability has improved, prompting a deeper reckoning with the structural forces at play. Meanwhile, in the UK and beyond, housing benefit claimants and asylum seekers are expensively warehoused in hotels and B&amp;B’s – the extreme end of a system built around temporary occupation. </p><p>What does it mean when our built environment is designed as an asset that needs to extract as much money from people as possible? Can we create neighbourhoods that are affordable and truly lived-in when homes are treated first and foremost as revenue streams? And how has this shift altered the role of the architect, planner and policymaker; forced to design for churn rather than community?</p><p>The lifeblood of a city relies on all demographics of society and those millions of day-to-day transactions that people make through organisations, professions, services, institutions and the arts, in which everyone offers their contribution toward the culture of a place. So where is the offer of ‘the fairly-priced’ in today’s housing system? And what kind of city are we really building when no one can afford to stay?</p><p><strong>Featuring:<br></strong><br></p><p>Rob Fiehn &amp; Huw Williams (chair)<br>Yolande Barnes, University College London<br>Riëtte Oosthuizen, HTA Desig<br>David Perez, Ackroyd Lowrie<br>Stephen Porter, Here Residential                                                                                 <br>Chris Bailey, Action on Empty Homes                                                                                                                                                      <br> <em>and all others who want to contribute</em>….. </p>]]>
      </itunes:summary>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
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    <item>
      <title>Negroni Talks #S18 - Quality Streets: How To Ensure That Ramsgate’s Future Is Sweet? </title>
      <itunes:episode>64</itunes:episode>
      <podcast:episode>64</podcast:episode>
      <itunes:title>Negroni Talks #S18 - Quality Streets: How To Ensure That Ramsgate’s Future Is Sweet? </itunes:title>
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        <![CDATA[<p>Negroni Talks #S18 - Quality Streets: How To Ensure That Ramsgate’s Future Is Sweet? </p><p>Ramsgate is a place on the edge, full of potential and opportunity, but does this really show up in terms of the character of its built environment? Entrepreneurial thinking, initiatives and campaigns from both individuals and groups frequently set sail against the wind of an unstable economy and funding cuts. </p><p>So is there a disconnect between Ramsgate’s creative communities and the quality of the spaces that its local population inhabits? Despite a town alive with the explorations and investigations of makers, thinkers and designers, planning decisions seem to reflect anything but this pioneering spirit. What is standing in the way of better-quality buildings and better-quality place-making that would help the towns heritage break free from past failures and a faded former glory? Who makes the decisions that result in things being the way that they are? Is there a bold vision for the future and a meaningful design review process that interrogates and raises the standard of what is going to be built? Like so many other places throughout Britain, questions about the role of absentee landlords and the induced melancholy of vacant high street units abound. Is the local council with its planning process working against the town it claims to serve? With retrograde moves that look towards reopening Manston Airport and cross channel ferry services from some political quarters, it seems it is time to talk of progressive politics, accountability or maybe worse still corruption?</p><p>As a Royal Port with a rich cultural history apparent in its grand Regency and Victorian architecture, as well as its association with Roman and Viking invasion, Pugin, Van Gogh and St Augustine, how can those intangible but essential values of care, craft and imagination become a central part of Ramsgate’s political and planning agenda? This is about more than aesthetics. It’s about the future of our very being by the seaside and the environment we create for ourselves along the elemental line where land meets water. Rather than seeming to be “coastal towns that they forgot to close down” how we can further reinvigorate them as newly defined places from within? </p><p> </p><p><strong>Featuring:<br></strong><br></p><p>Steve Sinclair &amp; Huw Williams, Fourthspace (chair)<br>Councillor Jane Hetherington, Ramsgate Town Council (Newington)<br>Scott Grady, Haptic Architects<br>Louise Brooks, Ramsgate Space CIC<br>Duarte Lobo Antunes, A IS FOR ARCHITECTURE                                                                                                                                                       <em>and all others who want to contribute</em>…..    </p>]]>
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        <![CDATA[<p>Negroni Talks #S18 - Quality Streets: How To Ensure That Ramsgate’s Future Is Sweet? </p><p>Ramsgate is a place on the edge, full of potential and opportunity, but does this really show up in terms of the character of its built environment? Entrepreneurial thinking, initiatives and campaigns from both individuals and groups frequently set sail against the wind of an unstable economy and funding cuts. </p><p>So is there a disconnect between Ramsgate’s creative communities and the quality of the spaces that its local population inhabits? Despite a town alive with the explorations and investigations of makers, thinkers and designers, planning decisions seem to reflect anything but this pioneering spirit. What is standing in the way of better-quality buildings and better-quality place-making that would help the towns heritage break free from past failures and a faded former glory? Who makes the decisions that result in things being the way that they are? Is there a bold vision for the future and a meaningful design review process that interrogates and raises the standard of what is going to be built? Like so many other places throughout Britain, questions about the role of absentee landlords and the induced melancholy of vacant high street units abound. Is the local council with its planning process working against the town it claims to serve? With retrograde moves that look towards reopening Manston Airport and cross channel ferry services from some political quarters, it seems it is time to talk of progressive politics, accountability or maybe worse still corruption?</p><p>As a Royal Port with a rich cultural history apparent in its grand Regency and Victorian architecture, as well as its association with Roman and Viking invasion, Pugin, Van Gogh and St Augustine, how can those intangible but essential values of care, craft and imagination become a central part of Ramsgate’s political and planning agenda? This is about more than aesthetics. It’s about the future of our very being by the seaside and the environment we create for ourselves along the elemental line where land meets water. Rather than seeming to be “coastal towns that they forgot to close down” how we can further reinvigorate them as newly defined places from within? </p><p> </p><p><strong>Featuring:<br></strong><br></p><p>Steve Sinclair &amp; Huw Williams, Fourthspace (chair)<br>Councillor Jane Hetherington, Ramsgate Town Council (Newington)<br>Scott Grady, Haptic Architects<br>Louise Brooks, Ramsgate Space CIC<br>Duarte Lobo Antunes, A IS FOR ARCHITECTURE                                                                                                                                                       <em>and all others who want to contribute</em>…..    </p>]]>
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      <pubDate>Wed, 16 Jul 2025 15:28:01 +0000</pubDate>
      <author>Fourth_space</author>
      <enclosure url="https://media.transistor.fm/6c6d5182/2e95c72e.mp3" length="131083822" type="audio/mpeg"/>
      <itunes:author>Fourth_space</itunes:author>
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      <itunes:duration>5459</itunes:duration>
      <itunes:summary>
        <![CDATA[<p>Negroni Talks #S18 - Quality Streets: How To Ensure That Ramsgate’s Future Is Sweet? </p><p>Ramsgate is a place on the edge, full of potential and opportunity, but does this really show up in terms of the character of its built environment? Entrepreneurial thinking, initiatives and campaigns from both individuals and groups frequently set sail against the wind of an unstable economy and funding cuts. </p><p>So is there a disconnect between Ramsgate’s creative communities and the quality of the spaces that its local population inhabits? Despite a town alive with the explorations and investigations of makers, thinkers and designers, planning decisions seem to reflect anything but this pioneering spirit. What is standing in the way of better-quality buildings and better-quality place-making that would help the towns heritage break free from past failures and a faded former glory? Who makes the decisions that result in things being the way that they are? Is there a bold vision for the future and a meaningful design review process that interrogates and raises the standard of what is going to be built? Like so many other places throughout Britain, questions about the role of absentee landlords and the induced melancholy of vacant high street units abound. Is the local council with its planning process working against the town it claims to serve? With retrograde moves that look towards reopening Manston Airport and cross channel ferry services from some political quarters, it seems it is time to talk of progressive politics, accountability or maybe worse still corruption?</p><p>As a Royal Port with a rich cultural history apparent in its grand Regency and Victorian architecture, as well as its association with Roman and Viking invasion, Pugin, Van Gogh and St Augustine, how can those intangible but essential values of care, craft and imagination become a central part of Ramsgate’s political and planning agenda? This is about more than aesthetics. It’s about the future of our very being by the seaside and the environment we create for ourselves along the elemental line where land meets water. Rather than seeming to be “coastal towns that they forgot to close down” how we can further reinvigorate them as newly defined places from within? </p><p> </p><p><strong>Featuring:<br></strong><br></p><p>Steve Sinclair &amp; Huw Williams, Fourthspace (chair)<br>Councillor Jane Hetherington, Ramsgate Town Council (Newington)<br>Scott Grady, Haptic Architects<br>Louise Brooks, Ramsgate Space CIC<br>Duarte Lobo Antunes, A IS FOR ARCHITECTURE                                                                                                                                                       <em>and all others who want to contribute</em>…..    </p>]]>
      </itunes:summary>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
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    <item>
      <title>Negroni Talks #53 - Mean-while…. cyclical change or cynical claims in the city?</title>
      <itunes:episode>63</itunes:episode>
      <podcast:episode>63</podcast:episode>
      <itunes:title>Negroni Talks #53 - Mean-while…. cyclical change or cynical claims in the city?</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
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        <![CDATA[<p>The city continually changes despite its perceived permanence as a place; centuries of temporary inhabitation by all kinds of people passing through a built environment seemingly fixed, yet in continual flux. Buildings go up, buildings come down, buildings get repurposed for different uses and short-lived gaps appear in the landscape, whilst a more persistent emptiness can sometimes inexplicably lie dormant behind hoarding for years on end.</p><p>Vacancy has long been an opportunity to take advantage of disused space and the on-going trend is for “meanwhile use”. The familiar cycle unfolds: pop-ups, creatives and artisans briefly occupy spaces, ticking policy boxes for local councils while property investment waits in the wings. But, for how long and on what terms? Is “meanwhile” itself just more gentrification; profiting from land that’s in limbo while bigger plans take shape? When a site is always considered valuable, no matter its size or state, as a stopgap before inevitable redevelopment, is there an inherent meanness behind meanwhile?</p><p>When every square foot of the city seems to be in the service of finance, what of ‘the subversive’ ever-present throughout its history? Street markets disrupting standard retail prices, hidden workshops, cash-in-hand services in railway arches, squatted buildings, which have been the urban lifeblood. What are we to make of today’s craft beer under-crofts, the colourful timber boxes of the instagram-able food fair, the sameness of the stalls and the converted workplace shipping containers? Do they offer genuine alternatives to the business of property development and architecture? Do they foster a genuine diversity of people, incomes, pursuits, interests and culture or simply repackage consumerism to further boost land value?</p><p>Across Europe, temporary use seems more deeply woven into civic life; it appears to respond to historical, cultural and social fractures in ways that feel organic and community-driven. In the UK, it’s often a strategic tool of economic cycles. But what if we flipped the script? What if slowing down regeneration could lead to a richer, more diverse landscape for not only working or eating out, but also living? Could we see new forms of dwelling and tenure emerge from this liminal state? Could more transient living solutions offer something more radical that addresses our most pressing problems like homelessness and temporary accommodation and in doing so develop a more worthwhile meanwhile?</p><p>There exists a tension between fast and slow, permanent and transient. How might we reclaim the use of the ‘empty’ urban space as something more than just a prelude to profit? How might culture (not capital) shape the city of the future? </p><p><strong>Speakers:</strong> </p><p>Steve Sinclair &amp; Rob Fiehn (chair)<br>Jan Kattein, Jan Kattein Architects<br>Rumi Bose, Urban Design and Placeshaping Consultant<br>Eric Reynolds, Urban Space Management<br>Tim Lowe, The Lowe Group                                                                                                                     and all others who want to contribute…..</p>]]>
      </description>
      <content:encoded>
        <![CDATA[<p>The city continually changes despite its perceived permanence as a place; centuries of temporary inhabitation by all kinds of people passing through a built environment seemingly fixed, yet in continual flux. Buildings go up, buildings come down, buildings get repurposed for different uses and short-lived gaps appear in the landscape, whilst a more persistent emptiness can sometimes inexplicably lie dormant behind hoarding for years on end.</p><p>Vacancy has long been an opportunity to take advantage of disused space and the on-going trend is for “meanwhile use”. The familiar cycle unfolds: pop-ups, creatives and artisans briefly occupy spaces, ticking policy boxes for local councils while property investment waits in the wings. But, for how long and on what terms? Is “meanwhile” itself just more gentrification; profiting from land that’s in limbo while bigger plans take shape? When a site is always considered valuable, no matter its size or state, as a stopgap before inevitable redevelopment, is there an inherent meanness behind meanwhile?</p><p>When every square foot of the city seems to be in the service of finance, what of ‘the subversive’ ever-present throughout its history? Street markets disrupting standard retail prices, hidden workshops, cash-in-hand services in railway arches, squatted buildings, which have been the urban lifeblood. What are we to make of today’s craft beer under-crofts, the colourful timber boxes of the instagram-able food fair, the sameness of the stalls and the converted workplace shipping containers? Do they offer genuine alternatives to the business of property development and architecture? Do they foster a genuine diversity of people, incomes, pursuits, interests and culture or simply repackage consumerism to further boost land value?</p><p>Across Europe, temporary use seems more deeply woven into civic life; it appears to respond to historical, cultural and social fractures in ways that feel organic and community-driven. In the UK, it’s often a strategic tool of economic cycles. But what if we flipped the script? What if slowing down regeneration could lead to a richer, more diverse landscape for not only working or eating out, but also living? Could we see new forms of dwelling and tenure emerge from this liminal state? Could more transient living solutions offer something more radical that addresses our most pressing problems like homelessness and temporary accommodation and in doing so develop a more worthwhile meanwhile?</p><p>There exists a tension between fast and slow, permanent and transient. How might we reclaim the use of the ‘empty’ urban space as something more than just a prelude to profit? How might culture (not capital) shape the city of the future? </p><p><strong>Speakers:</strong> </p><p>Steve Sinclair &amp; Rob Fiehn (chair)<br>Jan Kattein, Jan Kattein Architects<br>Rumi Bose, Urban Design and Placeshaping Consultant<br>Eric Reynolds, Urban Space Management<br>Tim Lowe, The Lowe Group                                                                                                                     and all others who want to contribute…..</p>]]>
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      <pubDate>Wed, 30 Apr 2025 14:22:46 +0000</pubDate>
      <author>Fourth_space</author>
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      <itunes:author>Fourth_space</itunes:author>
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      <itunes:duration>5111</itunes:duration>
      <itunes:summary>
        <![CDATA[<p>The city continually changes despite its perceived permanence as a place; centuries of temporary inhabitation by all kinds of people passing through a built environment seemingly fixed, yet in continual flux. Buildings go up, buildings come down, buildings get repurposed for different uses and short-lived gaps appear in the landscape, whilst a more persistent emptiness can sometimes inexplicably lie dormant behind hoarding for years on end.</p><p>Vacancy has long been an opportunity to take advantage of disused space and the on-going trend is for “meanwhile use”. The familiar cycle unfolds: pop-ups, creatives and artisans briefly occupy spaces, ticking policy boxes for local councils while property investment waits in the wings. But, for how long and on what terms? Is “meanwhile” itself just more gentrification; profiting from land that’s in limbo while bigger plans take shape? When a site is always considered valuable, no matter its size or state, as a stopgap before inevitable redevelopment, is there an inherent meanness behind meanwhile?</p><p>When every square foot of the city seems to be in the service of finance, what of ‘the subversive’ ever-present throughout its history? Street markets disrupting standard retail prices, hidden workshops, cash-in-hand services in railway arches, squatted buildings, which have been the urban lifeblood. What are we to make of today’s craft beer under-crofts, the colourful timber boxes of the instagram-able food fair, the sameness of the stalls and the converted workplace shipping containers? Do they offer genuine alternatives to the business of property development and architecture? Do they foster a genuine diversity of people, incomes, pursuits, interests and culture or simply repackage consumerism to further boost land value?</p><p>Across Europe, temporary use seems more deeply woven into civic life; it appears to respond to historical, cultural and social fractures in ways that feel organic and community-driven. In the UK, it’s often a strategic tool of economic cycles. But what if we flipped the script? What if slowing down regeneration could lead to a richer, more diverse landscape for not only working or eating out, but also living? Could we see new forms of dwelling and tenure emerge from this liminal state? Could more transient living solutions offer something more radical that addresses our most pressing problems like homelessness and temporary accommodation and in doing so develop a more worthwhile meanwhile?</p><p>There exists a tension between fast and slow, permanent and transient. How might we reclaim the use of the ‘empty’ urban space as something more than just a prelude to profit? How might culture (not capital) shape the city of the future? </p><p><strong>Speakers:</strong> </p><p>Steve Sinclair &amp; Rob Fiehn (chair)<br>Jan Kattein, Jan Kattein Architects<br>Rumi Bose, Urban Design and Placeshaping Consultant<br>Eric Reynolds, Urban Space Management<br>Tim Lowe, The Lowe Group                                                                                                                     and all others who want to contribute…..</p>]]>
      </itunes:summary>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talks #52 - “Kiss My Kl-arse” : how influential is CLASS in the creation our built environment?</title>
      <itunes:episode>62</itunes:episode>
      <podcast:episode>62</podcast:episode>
      <itunes:title>Negroni Talks #52 - “Kiss My Kl-arse” : how influential is CLASS in the creation our built environment?</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
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      <link>https://share.transistor.fm/s/ac6b8d0f</link>
      <description>
        <![CDATA[<p>As Robert Hughes stated in The Shock Of The New, <em>“In the C19th, Architecture built palaces for the rich, villas for the upper bourgoise, and ceremonial structures for the state.”</em> and <em>“the poor, the invisible ones, they had no architecture. They had slums.”</em> </p><p>Whilst architects in the C20th sought to address this inequality through utopian ideals and design manifestos and often working within the state aparatus, do we find ourselves in a C21st world in which CLASS still remains a prevalent factor in our built environment and if so, what effect does this have on what gets built?</p><p>There seem to be 3 factors at play; the DESIGN of buildings, spaces and places, the DELIVERY of that design and then the question of WHO those designs are actually for, who benefits from them?</p><p>The old argument goes that you can’t design anything by committee. However, DESIGN as a process does raise questions about dialogue, openness and collaboration, and about who is involved, how egalitarian it is and who ultimately decides. What design is and who designers are, puts a spotlight on accessibility and education, from the level of design awareness fostered in children of all ages, to the system of fee-paying university education, the resulting qualifications and how necessary/useful this actually is. One may ask ‘are people from all classes equally represented within the spatial design professions?’ Conversely, one can also ask ‘why would any self respecting person, irrespective of background, choose to go into these professions?’ and finally, do these professions have the imagined controlling influence over what design is anyway?</p><p>The DELIVERY of buildings and our built environment can be characterised as being highly collaborative, but also frequently combative. So what are we to make of a battleground where antagonism can arise from the conflicting agendas of middle class professional, the working class trades, the monied clients and institutions ranging from corporate finance through to the public sector. Who really defines the value, quality and suitability of what gets built? If the traditional view of class is based on income, who makes the money out of building buildings, and are class stereotypes within the Building Industry even accurate or relevant anymore?</p><p>The final question of WHO we are building for, returns us to Robert Hughes and what is the purpose of Architecture if not to serve the interests of people from all sections of society? Does it? The power to shape our cities seems to rest disproportionately in the hands of those whose priorities and lived experiences often differ vastly from the people it impacts. So why don’t we talk more about the ways in which class structures influence not just what gets built, but who gets to make those decisions in the first place? </p><p>This discussion will interrogate whether our current built environment is simply a reflection of the UK’s deeply entrenched class hierarchy, and whether this even exists in the way that we think?</p><p> </p><p><strong>Speakers:</strong> TBC</p><p>Steve Sinclair &amp; Huw Williams, fourth_space (chair)<br>Faith Locken, We Rise In<br>Leanne Cloudsdale, Concrete Communities<br>Neil Murphy, TOWN<br>Steve Drury, Rooff                                                                                                                      and all others who want to contribute…..</p>]]>
      </description>
      <content:encoded>
        <![CDATA[<p>As Robert Hughes stated in The Shock Of The New, <em>“In the C19th, Architecture built palaces for the rich, villas for the upper bourgoise, and ceremonial structures for the state.”</em> and <em>“the poor, the invisible ones, they had no architecture. They had slums.”</em> </p><p>Whilst architects in the C20th sought to address this inequality through utopian ideals and design manifestos and often working within the state aparatus, do we find ourselves in a C21st world in which CLASS still remains a prevalent factor in our built environment and if so, what effect does this have on what gets built?</p><p>There seem to be 3 factors at play; the DESIGN of buildings, spaces and places, the DELIVERY of that design and then the question of WHO those designs are actually for, who benefits from them?</p><p>The old argument goes that you can’t design anything by committee. However, DESIGN as a process does raise questions about dialogue, openness and collaboration, and about who is involved, how egalitarian it is and who ultimately decides. What design is and who designers are, puts a spotlight on accessibility and education, from the level of design awareness fostered in children of all ages, to the system of fee-paying university education, the resulting qualifications and how necessary/useful this actually is. One may ask ‘are people from all classes equally represented within the spatial design professions?’ Conversely, one can also ask ‘why would any self respecting person, irrespective of background, choose to go into these professions?’ and finally, do these professions have the imagined controlling influence over what design is anyway?</p><p>The DELIVERY of buildings and our built environment can be characterised as being highly collaborative, but also frequently combative. So what are we to make of a battleground where antagonism can arise from the conflicting agendas of middle class professional, the working class trades, the monied clients and institutions ranging from corporate finance through to the public sector. Who really defines the value, quality and suitability of what gets built? If the traditional view of class is based on income, who makes the money out of building buildings, and are class stereotypes within the Building Industry even accurate or relevant anymore?</p><p>The final question of WHO we are building for, returns us to Robert Hughes and what is the purpose of Architecture if not to serve the interests of people from all sections of society? Does it? The power to shape our cities seems to rest disproportionately in the hands of those whose priorities and lived experiences often differ vastly from the people it impacts. So why don’t we talk more about the ways in which class structures influence not just what gets built, but who gets to make those decisions in the first place? </p><p>This discussion will interrogate whether our current built environment is simply a reflection of the UK’s deeply entrenched class hierarchy, and whether this even exists in the way that we think?</p><p> </p><p><strong>Speakers:</strong> TBC</p><p>Steve Sinclair &amp; Huw Williams, fourth_space (chair)<br>Faith Locken, We Rise In<br>Leanne Cloudsdale, Concrete Communities<br>Neil Murphy, TOWN<br>Steve Drury, Rooff                                                                                                                      and all others who want to contribute…..</p>]]>
      </content:encoded>
      <pubDate>Mon, 17 Mar 2025 14:26:01 -0100</pubDate>
      <author>Fourth_space</author>
      <enclosure url="https://media.transistor.fm/ac6b8d0f/18688b94.mp3" length="142166921" type="audio/mpeg"/>
      <itunes:author>Fourth_space</itunes:author>
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      <itunes:duration>5923</itunes:duration>
      <itunes:summary>
        <![CDATA[<p>As Robert Hughes stated in The Shock Of The New, <em>“In the C19th, Architecture built palaces for the rich, villas for the upper bourgoise, and ceremonial structures for the state.”</em> and <em>“the poor, the invisible ones, they had no architecture. They had slums.”</em> </p><p>Whilst architects in the C20th sought to address this inequality through utopian ideals and design manifestos and often working within the state aparatus, do we find ourselves in a C21st world in which CLASS still remains a prevalent factor in our built environment and if so, what effect does this have on what gets built?</p><p>There seem to be 3 factors at play; the DESIGN of buildings, spaces and places, the DELIVERY of that design and then the question of WHO those designs are actually for, who benefits from them?</p><p>The old argument goes that you can’t design anything by committee. However, DESIGN as a process does raise questions about dialogue, openness and collaboration, and about who is involved, how egalitarian it is and who ultimately decides. What design is and who designers are, puts a spotlight on accessibility and education, from the level of design awareness fostered in children of all ages, to the system of fee-paying university education, the resulting qualifications and how necessary/useful this actually is. One may ask ‘are people from all classes equally represented within the spatial design professions?’ Conversely, one can also ask ‘why would any self respecting person, irrespective of background, choose to go into these professions?’ and finally, do these professions have the imagined controlling influence over what design is anyway?</p><p>The DELIVERY of buildings and our built environment can be characterised as being highly collaborative, but also frequently combative. So what are we to make of a battleground where antagonism can arise from the conflicting agendas of middle class professional, the working class trades, the monied clients and institutions ranging from corporate finance through to the public sector. Who really defines the value, quality and suitability of what gets built? If the traditional view of class is based on income, who makes the money out of building buildings, and are class stereotypes within the Building Industry even accurate or relevant anymore?</p><p>The final question of WHO we are building for, returns us to Robert Hughes and what is the purpose of Architecture if not to serve the interests of people from all sections of society? Does it? The power to shape our cities seems to rest disproportionately in the hands of those whose priorities and lived experiences often differ vastly from the people it impacts. So why don’t we talk more about the ways in which class structures influence not just what gets built, but who gets to make those decisions in the first place? </p><p>This discussion will interrogate whether our current built environment is simply a reflection of the UK’s deeply entrenched class hierarchy, and whether this even exists in the way that we think?</p><p> </p><p><strong>Speakers:</strong> TBC</p><p>Steve Sinclair &amp; Huw Williams, fourth_space (chair)<br>Faith Locken, We Rise In<br>Leanne Cloudsdale, Concrete Communities<br>Neil Murphy, TOWN<br>Steve Drury, Rooff                                                                                                                      and all others who want to contribute…..</p>]]>
      </itunes:summary>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talks #51 - New Towns: (Any) New Ideas?</title>
      <itunes:episode>61</itunes:episode>
      <podcast:episode>61</podcast:episode>
      <itunes:title>Negroni Talks #51 - New Towns: (Any) New Ideas?</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
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      <link>https://share.transistor.fm/s/fb790c64</link>
      <description>
        <![CDATA[<p><strong><em>[NOTE: In the opening 18 minutes the recording contains background noise due to technical issues on the night]</em></strong></p><p><strong>New Towns: (Any) New Ideas?<br></strong><br>The New Town is now old - about a hundred years old. From their roots in the visionary Garden City Movement of Ebenezer Howard, to their mid-20th century iterations like Milton Keynes, they have long been touted as a solution to relieve urban overcrowding and housing shortages. It was hoped they would usher in an era of improved health and prosperity, as these newly-constructed places would combine the best of rural and city life. Their creation was seen as a way to better organise the planning and development of the built envrionment, when compared to the historical nature of cities that grow organically over time, whilst also stimulating economic growth in areas that urgently needed support. </p><p>But as the Labour government revisits the idea of New Towns to tackle today’s housing crisis, we must ask whether they provide the answer to our modern housing needs, or are they destined to become overspill hubs for nearby cities? Can we re-envison them as amazing places to live, complete with schools, hospitals, transport links and thriving communities? Or would it be more practical to focus on building housing within existing towns and suburbs, leveraging their established infrastructure? And what is this call for New Towns within the boundaries of London? Surely that’s just more city! </p><p>There is now a geographical and economic history to the new town idea, so what becomes of the 21st century version? Should the design of new towns be the same as city or urban design, where there is need to accommodate social and cultural identities, to be mindful of civic realism, to consider infrastructure and amenity, to allow neighbourhoods to more easily connect and interact, and to address the challenges of climate change?</p><p>The past ‘phases’ of new towns merged / expanded upon existing peripheral settlements and relied heavily upon car culture, so does a ‘future phase’ revert back to a sense of Utopian Ideal, or are there more innovative alternatives about the interplay between landscape, region, place, town and city?</p><p>Our panel of speakers, including urban planners, architects, and housing policy experts, will delve into the pros and cons of New Towns. We’ll reflect on whether they’ve delivered on their promises in the past and debate how we should approach the housing crisis of the future.</p><p> </p><p><strong>Speakers:</strong> </p><p>Steve Sinclair &amp; Huw Williams, fourth_space (chair)<br>Kathryn Firth, Arup<br>Tom Mitchell, Metropolitan Workshop<br>Jessica Arczynski, Trowers &amp; Hamlins LLP<br>John Nordon, igloo Regeneration                                                                                             Biljana Savic, Ministry of Housing, Communities and Local Government</p><p><em>and all others who want to contribute….</em></p><ul><li><br></li></ul>]]>
      </description>
      <content:encoded>
        <![CDATA[<p><strong><em>[NOTE: In the opening 18 minutes the recording contains background noise due to technical issues on the night]</em></strong></p><p><strong>New Towns: (Any) New Ideas?<br></strong><br>The New Town is now old - about a hundred years old. From their roots in the visionary Garden City Movement of Ebenezer Howard, to their mid-20th century iterations like Milton Keynes, they have long been touted as a solution to relieve urban overcrowding and housing shortages. It was hoped they would usher in an era of improved health and prosperity, as these newly-constructed places would combine the best of rural and city life. Their creation was seen as a way to better organise the planning and development of the built envrionment, when compared to the historical nature of cities that grow organically over time, whilst also stimulating economic growth in areas that urgently needed support. </p><p>But as the Labour government revisits the idea of New Towns to tackle today’s housing crisis, we must ask whether they provide the answer to our modern housing needs, or are they destined to become overspill hubs for nearby cities? Can we re-envison them as amazing places to live, complete with schools, hospitals, transport links and thriving communities? Or would it be more practical to focus on building housing within existing towns and suburbs, leveraging their established infrastructure? And what is this call for New Towns within the boundaries of London? Surely that’s just more city! </p><p>There is now a geographical and economic history to the new town idea, so what becomes of the 21st century version? Should the design of new towns be the same as city or urban design, where there is need to accommodate social and cultural identities, to be mindful of civic realism, to consider infrastructure and amenity, to allow neighbourhoods to more easily connect and interact, and to address the challenges of climate change?</p><p>The past ‘phases’ of new towns merged / expanded upon existing peripheral settlements and relied heavily upon car culture, so does a ‘future phase’ revert back to a sense of Utopian Ideal, or are there more innovative alternatives about the interplay between landscape, region, place, town and city?</p><p>Our panel of speakers, including urban planners, architects, and housing policy experts, will delve into the pros and cons of New Towns. We’ll reflect on whether they’ve delivered on their promises in the past and debate how we should approach the housing crisis of the future.</p><p> </p><p><strong>Speakers:</strong> </p><p>Steve Sinclair &amp; Huw Williams, fourth_space (chair)<br>Kathryn Firth, Arup<br>Tom Mitchell, Metropolitan Workshop<br>Jessica Arczynski, Trowers &amp; Hamlins LLP<br>John Nordon, igloo Regeneration                                                                                             Biljana Savic, Ministry of Housing, Communities and Local Government</p><p><em>and all others who want to contribute….</em></p><ul><li><br></li></ul>]]>
      </content:encoded>
      <pubDate>Thu, 20 Feb 2025 10:20:32 -0100</pubDate>
      <author>Fourth_space</author>
      <enclosure url="https://media.transistor.fm/fb790c64/e226db5c.mp3" length="148053975" type="audio/mpeg"/>
      <itunes:author>Fourth_space</itunes:author>
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      <itunes:duration>6168</itunes:duration>
      <itunes:summary>
        <![CDATA[<p><strong><em>[NOTE: In the opening 18 minutes the recording contains background noise due to technical issues on the night]</em></strong></p><p><strong>New Towns: (Any) New Ideas?<br></strong><br>The New Town is now old - about a hundred years old. From their roots in the visionary Garden City Movement of Ebenezer Howard, to their mid-20th century iterations like Milton Keynes, they have long been touted as a solution to relieve urban overcrowding and housing shortages. It was hoped they would usher in an era of improved health and prosperity, as these newly-constructed places would combine the best of rural and city life. Their creation was seen as a way to better organise the planning and development of the built envrionment, when compared to the historical nature of cities that grow organically over time, whilst also stimulating economic growth in areas that urgently needed support. </p><p>But as the Labour government revisits the idea of New Towns to tackle today’s housing crisis, we must ask whether they provide the answer to our modern housing needs, or are they destined to become overspill hubs for nearby cities? Can we re-envison them as amazing places to live, complete with schools, hospitals, transport links and thriving communities? Or would it be more practical to focus on building housing within existing towns and suburbs, leveraging their established infrastructure? And what is this call for New Towns within the boundaries of London? Surely that’s just more city! </p><p>There is now a geographical and economic history to the new town idea, so what becomes of the 21st century version? Should the design of new towns be the same as city or urban design, where there is need to accommodate social and cultural identities, to be mindful of civic realism, to consider infrastructure and amenity, to allow neighbourhoods to more easily connect and interact, and to address the challenges of climate change?</p><p>The past ‘phases’ of new towns merged / expanded upon existing peripheral settlements and relied heavily upon car culture, so does a ‘future phase’ revert back to a sense of Utopian Ideal, or are there more innovative alternatives about the interplay between landscape, region, place, town and city?</p><p>Our panel of speakers, including urban planners, architects, and housing policy experts, will delve into the pros and cons of New Towns. We’ll reflect on whether they’ve delivered on their promises in the past and debate how we should approach the housing crisis of the future.</p><p> </p><p><strong>Speakers:</strong> </p><p>Steve Sinclair &amp; Huw Williams, fourth_space (chair)<br>Kathryn Firth, Arup<br>Tom Mitchell, Metropolitan Workshop<br>Jessica Arczynski, Trowers &amp; Hamlins LLP<br>John Nordon, igloo Regeneration                                                                                             Biljana Savic, Ministry of Housing, Communities and Local Government</p><p><em>and all others who want to contribute….</em></p><ul><li><br></li></ul>]]>
      </itunes:summary>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talks #50 - IMBYISM: Objection! Overruled?</title>
      <itunes:episode>60</itunes:episode>
      <podcast:episode>60</podcast:episode>
      <itunes:title>Negroni Talks #50 - IMBYISM: Objection! Overruled?</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
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      <link>https://share.transistor.fm/s/da635e79</link>
      <description>
        <![CDATA[<p>Around the world tensions often surround the arrival of a new building development, which challenges the status quo and has implications for local people, buildings and the natural environment alike. </p><p>The omnipresent NIMBY ("Not In My Backyard") and a counterpoint that has more recently emerged, the YIMBY ("Yes In My Backyard"), seem to be opposite sides of the same coin in having a great deal to say about proposed changes within our built environment. Both appear to be angered by what they feel as the <em>necessity</em> for change, so what does this tell us about the times we live in and how reasonable are their respective positions of Objection or Support? </p><p>Do they highlight a lack of confidence, a fear and distrust in our democratic systems? Are they expressive of a genuine concern for the common good? Or are they equally illustrative of a self-interest that has hounded human civilisation throughout history?</p><p>If everyone can be deemed to be a nimby at some level, then the reasoning and motivation behind ‘objecting’ comes into focus. Questions can also be raised about who objects and whether class/ethnicity/social standing play a part in whose voices get heard and whether broader society is being served? If some people tend to object to change irrespective of the proposals being made, then how much consideration should these objections get? Or….should the case for change simply be made in a better, more sympathetic and more convincing way? </p><p>In turn, whilst the NIMBY may well stifle progress in pursuit of Preservation, is the YIMBY not in danger of enthusiastically endorsing Progress whilst overlooking the actual consequences and impact of change?</p><p>Britain is a conservative country with a conflict between the country and the city, so how progressive can a vision of a future Britain really be? With its mythologies of a picturesque past blighted by decades of failure in experimenting with our built environment, would more purposefully addressing people’s concerns / needs lead to better development that is more readily accepted?</p><p>We'll explore the social, cultural, economic, and political implications of this stand-off, and what it means for the future of our cities, towns and villages.</p><p><strong>Speakers:<br></strong><br></p><p>fourth_space (chair)                                                                                                                                                            Daisy Froud, Community Engagement Strategist<br>Patricia Brown, Central         <br>Leo Hammond, Haringey Council<br>Hazel Joseph, AHMM                                                                                                                             Phineas Harper, Design Council Homes Taskforce                                                                                                                                                                                               <em>and all others who want to contribute….<br></em><br></p>]]>
      </description>
      <content:encoded>
        <![CDATA[<p>Around the world tensions often surround the arrival of a new building development, which challenges the status quo and has implications for local people, buildings and the natural environment alike. </p><p>The omnipresent NIMBY ("Not In My Backyard") and a counterpoint that has more recently emerged, the YIMBY ("Yes In My Backyard"), seem to be opposite sides of the same coin in having a great deal to say about proposed changes within our built environment. Both appear to be angered by what they feel as the <em>necessity</em> for change, so what does this tell us about the times we live in and how reasonable are their respective positions of Objection or Support? </p><p>Do they highlight a lack of confidence, a fear and distrust in our democratic systems? Are they expressive of a genuine concern for the common good? Or are they equally illustrative of a self-interest that has hounded human civilisation throughout history?</p><p>If everyone can be deemed to be a nimby at some level, then the reasoning and motivation behind ‘objecting’ comes into focus. Questions can also be raised about who objects and whether class/ethnicity/social standing play a part in whose voices get heard and whether broader society is being served? If some people tend to object to change irrespective of the proposals being made, then how much consideration should these objections get? Or….should the case for change simply be made in a better, more sympathetic and more convincing way? </p><p>In turn, whilst the NIMBY may well stifle progress in pursuit of Preservation, is the YIMBY not in danger of enthusiastically endorsing Progress whilst overlooking the actual consequences and impact of change?</p><p>Britain is a conservative country with a conflict between the country and the city, so how progressive can a vision of a future Britain really be? With its mythologies of a picturesque past blighted by decades of failure in experimenting with our built environment, would more purposefully addressing people’s concerns / needs lead to better development that is more readily accepted?</p><p>We'll explore the social, cultural, economic, and political implications of this stand-off, and what it means for the future of our cities, towns and villages.</p><p><strong>Speakers:<br></strong><br></p><p>fourth_space (chair)                                                                                                                                                            Daisy Froud, Community Engagement Strategist<br>Patricia Brown, Central         <br>Leo Hammond, Haringey Council<br>Hazel Joseph, AHMM                                                                                                                             Phineas Harper, Design Council Homes Taskforce                                                                                                                                                                                               <em>and all others who want to contribute….<br></em><br></p>]]>
      </content:encoded>
      <pubDate>Fri, 15 Nov 2024 15:05:39 -0100</pubDate>
      <author>Fourth_space</author>
      <enclosure url="https://media.transistor.fm/da635e79/88a441fd.mp3" length="147813612" type="audio/mpeg"/>
      <itunes:author>Fourth_space</itunes:author>
      <itunes:image href="https://img.transistor.fm/DX1Ma6puzJBY7S7Nemmr0XlTIfIuSMDNaFL0bcj6UYE/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9jN2Ix/ZDIyMWQwMzFhYzNh/NzBjNDdjZGY4N2Q4/OWVkYS5qcGc.jpg"/>
      <itunes:duration>6156</itunes:duration>
      <itunes:summary>
        <![CDATA[<p>Around the world tensions often surround the arrival of a new building development, which challenges the status quo and has implications for local people, buildings and the natural environment alike. </p><p>The omnipresent NIMBY ("Not In My Backyard") and a counterpoint that has more recently emerged, the YIMBY ("Yes In My Backyard"), seem to be opposite sides of the same coin in having a great deal to say about proposed changes within our built environment. Both appear to be angered by what they feel as the <em>necessity</em> for change, so what does this tell us about the times we live in and how reasonable are their respective positions of Objection or Support? </p><p>Do they highlight a lack of confidence, a fear and distrust in our democratic systems? Are they expressive of a genuine concern for the common good? Or are they equally illustrative of a self-interest that has hounded human civilisation throughout history?</p><p>If everyone can be deemed to be a nimby at some level, then the reasoning and motivation behind ‘objecting’ comes into focus. Questions can also be raised about who objects and whether class/ethnicity/social standing play a part in whose voices get heard and whether broader society is being served? If some people tend to object to change irrespective of the proposals being made, then how much consideration should these objections get? Or….should the case for change simply be made in a better, more sympathetic and more convincing way? </p><p>In turn, whilst the NIMBY may well stifle progress in pursuit of Preservation, is the YIMBY not in danger of enthusiastically endorsing Progress whilst overlooking the actual consequences and impact of change?</p><p>Britain is a conservative country with a conflict between the country and the city, so how progressive can a vision of a future Britain really be? With its mythologies of a picturesque past blighted by decades of failure in experimenting with our built environment, would more purposefully addressing people’s concerns / needs lead to better development that is more readily accepted?</p><p>We'll explore the social, cultural, economic, and political implications of this stand-off, and what it means for the future of our cities, towns and villages.</p><p><strong>Speakers:<br></strong><br></p><p>fourth_space (chair)                                                                                                                                                            Daisy Froud, Community Engagement Strategist<br>Patricia Brown, Central         <br>Leo Hammond, Haringey Council<br>Hazel Joseph, AHMM                                                                                                                             Phineas Harper, Design Council Homes Taskforce                                                                                                                                                                                               <em>and all others who want to contribute….<br></em><br></p>]]>
      </itunes:summary>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talks #S14 - Is Architecture Coming Round To The Circular Economy?</title>
      <itunes:episode>59</itunes:episode>
      <podcast:episode>59</podcast:episode>
      <itunes:title>Negroni Talks #S14 - Is Architecture Coming Round To The Circular Economy?</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
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      <link>https://share.transistor.fm/s/e22cf786</link>
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        <![CDATA[<p>The UK public love The Repair Shop on TV, as grandad’s favourite old toy is given a new lease of life. Sadly, in terms of the climate crisis, the re-use of objects has a pretty negligible impact compared to something like the construction industry and we urgently need to look at the consumption and waste involved, whereby perfectly good interiors are ripped out for corporate fit-outs and whole buildings are demolished and thrown on the scrapheap. We simply don’t have the carbon budget for this level of destruction, but what can be done? </p><p>Circular Economy principles show us that we can close the loopholes between processes of making, maintaining, dismantling and disposing, with leftovers from previous projects becoming part of a new cycle. There have been good recent examples of people carefully cataloguing reusable building elements for new applications, while some waste can be broken down and turned into new products. The throwaway attitude that is incumbent within our built environment cannot continue unchecked and so initiatives such as material passports or alternative methodologies could hold the key for a low-carbon industry. </p><p>Unfortunately, not all materials are ready to be repurposed. Timber is often celebrated for sustainable construction, but its structural integrity does not stand the test of time and it’s cut to size components cannot easily be reused. Whilst steel can be melted back down (with the associated energy costs being a factor) and reformed to be put to alternative uses, integrity testing is required and not everything will make the grade. It appears that very few circular economy projects can scale up to any kind of significant level in the reuse of construction elements, due to practicalities, cost demands, and a lack of funded facilities/labour for the sorting of waste, testing, and re-distribution. With so many companies involved across product supply chains and the political lobbying enacted by some of the big material producers, can a vision for a new building economy ever succeed?</p><p>We need designers, engineers and researchers to provide strategies if a circular economy approach is ever going to work, along with enlightened clients willing to experiment and an entire infrastructure to manage the process. What energy will be required in all of this and how much of it needs to be directed at politicians to enshrine a new joined up approach? What criteria should future accreditation/certification be based upon? Can the building economy ever truly be circular or is the idea just the latest in a long line of best intentions or design fads? </p><p><strong>Speakers:</strong> </p><p>Steve Sinclair, fourth_space (chair)                                                                                                                                                            Wolf Mangelsdorf, Buro Happold<br>Sumita Singha, Ecologic Architects           <br>Shikha Bhardwaj, Hawkins\Brown<br>Katie-May Boyd and Charlotte Kidger, Studio TIP                                                                                                                                                                                                  <em>and all others who want to contribute….<br></em><br></p>]]>
      </description>
      <content:encoded>
        <![CDATA[<p>The UK public love The Repair Shop on TV, as grandad’s favourite old toy is given a new lease of life. Sadly, in terms of the climate crisis, the re-use of objects has a pretty negligible impact compared to something like the construction industry and we urgently need to look at the consumption and waste involved, whereby perfectly good interiors are ripped out for corporate fit-outs and whole buildings are demolished and thrown on the scrapheap. We simply don’t have the carbon budget for this level of destruction, but what can be done? </p><p>Circular Economy principles show us that we can close the loopholes between processes of making, maintaining, dismantling and disposing, with leftovers from previous projects becoming part of a new cycle. There have been good recent examples of people carefully cataloguing reusable building elements for new applications, while some waste can be broken down and turned into new products. The throwaway attitude that is incumbent within our built environment cannot continue unchecked and so initiatives such as material passports or alternative methodologies could hold the key for a low-carbon industry. </p><p>Unfortunately, not all materials are ready to be repurposed. Timber is often celebrated for sustainable construction, but its structural integrity does not stand the test of time and it’s cut to size components cannot easily be reused. Whilst steel can be melted back down (with the associated energy costs being a factor) and reformed to be put to alternative uses, integrity testing is required and not everything will make the grade. It appears that very few circular economy projects can scale up to any kind of significant level in the reuse of construction elements, due to practicalities, cost demands, and a lack of funded facilities/labour for the sorting of waste, testing, and re-distribution. With so many companies involved across product supply chains and the political lobbying enacted by some of the big material producers, can a vision for a new building economy ever succeed?</p><p>We need designers, engineers and researchers to provide strategies if a circular economy approach is ever going to work, along with enlightened clients willing to experiment and an entire infrastructure to manage the process. What energy will be required in all of this and how much of it needs to be directed at politicians to enshrine a new joined up approach? What criteria should future accreditation/certification be based upon? Can the building economy ever truly be circular or is the idea just the latest in a long line of best intentions or design fads? </p><p><strong>Speakers:</strong> </p><p>Steve Sinclair, fourth_space (chair)                                                                                                                                                            Wolf Mangelsdorf, Buro Happold<br>Sumita Singha, Ecologic Architects           <br>Shikha Bhardwaj, Hawkins\Brown<br>Katie-May Boyd and Charlotte Kidger, Studio TIP                                                                                                                                                                                                  <em>and all others who want to contribute….<br></em><br></p>]]>
      </content:encoded>
      <pubDate>Fri, 18 Oct 2024 10:39:23 +0000</pubDate>
      <author>Fourth_space</author>
      <enclosure url="https://media.transistor.fm/e22cf786/38f23367.mp3" length="84040676" type="audio/mpeg"/>
      <itunes:author>Fourth_space</itunes:author>
      <itunes:image href="https://img.transistor.fm/Mrzep02P1y2QBx2Xw2faRoLFyJivb17R1x-X7jmTG-U/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS82NTI2/ZDEyZjAxMTdhOTA0/ZTE2MzZjMmRmZDVk/ZjgzMy5qcGc.jpg"/>
      <itunes:duration>3500</itunes:duration>
      <itunes:summary>
        <![CDATA[<p>The UK public love The Repair Shop on TV, as grandad’s favourite old toy is given a new lease of life. Sadly, in terms of the climate crisis, the re-use of objects has a pretty negligible impact compared to something like the construction industry and we urgently need to look at the consumption and waste involved, whereby perfectly good interiors are ripped out for corporate fit-outs and whole buildings are demolished and thrown on the scrapheap. We simply don’t have the carbon budget for this level of destruction, but what can be done? </p><p>Circular Economy principles show us that we can close the loopholes between processes of making, maintaining, dismantling and disposing, with leftovers from previous projects becoming part of a new cycle. There have been good recent examples of people carefully cataloguing reusable building elements for new applications, while some waste can be broken down and turned into new products. The throwaway attitude that is incumbent within our built environment cannot continue unchecked and so initiatives such as material passports or alternative methodologies could hold the key for a low-carbon industry. </p><p>Unfortunately, not all materials are ready to be repurposed. Timber is often celebrated for sustainable construction, but its structural integrity does not stand the test of time and it’s cut to size components cannot easily be reused. Whilst steel can be melted back down (with the associated energy costs being a factor) and reformed to be put to alternative uses, integrity testing is required and not everything will make the grade. It appears that very few circular economy projects can scale up to any kind of significant level in the reuse of construction elements, due to practicalities, cost demands, and a lack of funded facilities/labour for the sorting of waste, testing, and re-distribution. With so many companies involved across product supply chains and the political lobbying enacted by some of the big material producers, can a vision for a new building economy ever succeed?</p><p>We need designers, engineers and researchers to provide strategies if a circular economy approach is ever going to work, along with enlightened clients willing to experiment and an entire infrastructure to manage the process. What energy will be required in all of this and how much of it needs to be directed at politicians to enshrine a new joined up approach? What criteria should future accreditation/certification be based upon? Can the building economy ever truly be circular or is the idea just the latest in a long line of best intentions or design fads? </p><p><strong>Speakers:</strong> </p><p>Steve Sinclair, fourth_space (chair)                                                                                                                                                            Wolf Mangelsdorf, Buro Happold<br>Sumita Singha, Ecologic Architects           <br>Shikha Bhardwaj, Hawkins\Brown<br>Katie-May Boyd and Charlotte Kidger, Studio TIP                                                                                                                                                                                                  <em>and all others who want to contribute….<br></em><br></p>]]>
      </itunes:summary>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talks #S13 - QUEER EYE FOR THE RESI: A Challenge To Housing Conventions</title>
      <itunes:episode>58</itunes:episode>
      <podcast:episode>58</podcast:episode>
      <itunes:title>Negroni Talks #S13 - QUEER EYE FOR THE RESI: A Challenge To Housing Conventions</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
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      <link>https://share.transistor.fm/s/b58327e1</link>
      <description>
        <![CDATA[<p>The different typologies of building and space in which we live are broad and disparate, as housing models have evolved over the centuries to suit different needs. From cellular abodes to open-plan spaces, from the detached residence to mixed-use developments, we have sought to formulate ways to accommodate the changing <em>needs</em> of individuals, families and communities within different environments. But is this long tradition of flexibility and adaptation being adhered to today and what happens when we look at it through a queer lens? </p><p>Current housing standards and regulations have become prescriptive in an attempt to prevent the worst tendencies of house builders, who are led by profit rather than quality. This has led to a situation where everyone meets the absolute minimum in terms of layouts and spatial planning. The 1-bed, 2-bed or 3-bed apartment and to a certain degree the detached, semi-detached and terraced house have in turn become increasingly standardized as a set of propositions, that seem unresponsive to the specifics of demographic or location that they address. </p><p>We need the spaces we live in to meet basic universal criteria and to do so with a level of decency. However, should factors such as age, race, class and variations in cohabitation and what constitutes ‘the family’, not further challenge the standards and range of residential design when it is predicated on heteronormative expectations of how we live? Has ‘the home’ become a space that breeds similarities and isolation rather than differences and communality? Do our homes fundamentally address and reflect our needs as inhabitants?</p><p>The LGBTQ+ community is questioning these standards through investigations into potential alternatives within design and architecture. But as we struggle to deal with the very basics of quality in the creation of new homes, can we possibly stretch further to think about the needs of communities that don’t ascribe to ‘traditional’ occupation? It feels like we have lost the ability to build homes that are fit for purpose, which is a relatively modern condition. What can and should be done to ditch the one-size-fits-all approach and instead consider the needs of more diverse residents?</p><p><strong> </strong></p><p><strong>Speakers:</strong></p><p>Tarek Merlin, Feix&amp;Merlin Architects (Chair) Tom Copley, Deputy Mayor Of Housing And Residential Development<br>Ashita Roongta, London School Of Architecture + Feix&amp;Merlin <br>Paul Clarke, Stories<br>Prof. Pippa Catterall, University Of Westminster <em>and all others who want to contribute….</em></p>]]>
      </description>
      <content:encoded>
        <![CDATA[<p>The different typologies of building and space in which we live are broad and disparate, as housing models have evolved over the centuries to suit different needs. From cellular abodes to open-plan spaces, from the detached residence to mixed-use developments, we have sought to formulate ways to accommodate the changing <em>needs</em> of individuals, families and communities within different environments. But is this long tradition of flexibility and adaptation being adhered to today and what happens when we look at it through a queer lens? </p><p>Current housing standards and regulations have become prescriptive in an attempt to prevent the worst tendencies of house builders, who are led by profit rather than quality. This has led to a situation where everyone meets the absolute minimum in terms of layouts and spatial planning. The 1-bed, 2-bed or 3-bed apartment and to a certain degree the detached, semi-detached and terraced house have in turn become increasingly standardized as a set of propositions, that seem unresponsive to the specifics of demographic or location that they address. </p><p>We need the spaces we live in to meet basic universal criteria and to do so with a level of decency. However, should factors such as age, race, class and variations in cohabitation and what constitutes ‘the family’, not further challenge the standards and range of residential design when it is predicated on heteronormative expectations of how we live? Has ‘the home’ become a space that breeds similarities and isolation rather than differences and communality? Do our homes fundamentally address and reflect our needs as inhabitants?</p><p>The LGBTQ+ community is questioning these standards through investigations into potential alternatives within design and architecture. But as we struggle to deal with the very basics of quality in the creation of new homes, can we possibly stretch further to think about the needs of communities that don’t ascribe to ‘traditional’ occupation? It feels like we have lost the ability to build homes that are fit for purpose, which is a relatively modern condition. What can and should be done to ditch the one-size-fits-all approach and instead consider the needs of more diverse residents?</p><p><strong> </strong></p><p><strong>Speakers:</strong></p><p>Tarek Merlin, Feix&amp;Merlin Architects (Chair) Tom Copley, Deputy Mayor Of Housing And Residential Development<br>Ashita Roongta, London School Of Architecture + Feix&amp;Merlin <br>Paul Clarke, Stories<br>Prof. Pippa Catterall, University Of Westminster <em>and all others who want to contribute….</em></p>]]>
      </content:encoded>
      <pubDate>Thu, 12 Sep 2024 15:22:36 +0000</pubDate>
      <author>Fourth_space</author>
      <enclosure url="https://media.transistor.fm/b58327e1/b8284fb0.mp3" length="124412515" type="audio/mpeg"/>
      <itunes:author>Fourth_space</itunes:author>
      <itunes:image href="https://img.transistor.fm/lQ3j050RFv2XuwHqNoKF3ytLkxaa5TxDsufzLOWtKNc/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS80YmMz/NTJjNjM0NDA4Yjk0/ZjdlNzFlYjllMDUx/NzQyNy5qcGc.jpg"/>
      <itunes:duration>5178</itunes:duration>
      <itunes:summary>
        <![CDATA[<p>The different typologies of building and space in which we live are broad and disparate, as housing models have evolved over the centuries to suit different needs. From cellular abodes to open-plan spaces, from the detached residence to mixed-use developments, we have sought to formulate ways to accommodate the changing <em>needs</em> of individuals, families and communities within different environments. But is this long tradition of flexibility and adaptation being adhered to today and what happens when we look at it through a queer lens? </p><p>Current housing standards and regulations have become prescriptive in an attempt to prevent the worst tendencies of house builders, who are led by profit rather than quality. This has led to a situation where everyone meets the absolute minimum in terms of layouts and spatial planning. The 1-bed, 2-bed or 3-bed apartment and to a certain degree the detached, semi-detached and terraced house have in turn become increasingly standardized as a set of propositions, that seem unresponsive to the specifics of demographic or location that they address. </p><p>We need the spaces we live in to meet basic universal criteria and to do so with a level of decency. However, should factors such as age, race, class and variations in cohabitation and what constitutes ‘the family’, not further challenge the standards and range of residential design when it is predicated on heteronormative expectations of how we live? Has ‘the home’ become a space that breeds similarities and isolation rather than differences and communality? Do our homes fundamentally address and reflect our needs as inhabitants?</p><p>The LGBTQ+ community is questioning these standards through investigations into potential alternatives within design and architecture. But as we struggle to deal with the very basics of quality in the creation of new homes, can we possibly stretch further to think about the needs of communities that don’t ascribe to ‘traditional’ occupation? It feels like we have lost the ability to build homes that are fit for purpose, which is a relatively modern condition. What can and should be done to ditch the one-size-fits-all approach and instead consider the needs of more diverse residents?</p><p><strong> </strong></p><p><strong>Speakers:</strong></p><p>Tarek Merlin, Feix&amp;Merlin Architects (Chair) Tom Copley, Deputy Mayor Of Housing And Residential Development<br>Ashita Roongta, London School Of Architecture + Feix&amp;Merlin <br>Paul Clarke, Stories<br>Prof. Pippa Catterall, University Of Westminster <em>and all others who want to contribute….</em></p>]]>
      </itunes:summary>
      <itunes:keywords>Negronitalks Negroni Architecture Urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talks #48 -Pressing Problems: Architecture (Un)Covered?</title>
      <itunes:episode>57</itunes:episode>
      <podcast:episode>57</podcast:episode>
      <itunes:title>Negroni Talks #48 -Pressing Problems: Architecture (Un)Covered?</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
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      <link>https://share.transistor.fm/s/d6fced73</link>
      <description>
        <![CDATA[<p>Architects don’t just design buildings, they also ‘craft narratives’ to help explain them. Storytelling and the art of telling a good story plays an important role in successfully getting permissions and selling ideas to clients. This frequently involves some weird and wonderful language that pushes the boundaries of believability and comprehension, in both fellow professionals and the wider public. An eagerness to describe projects as a great thing for everyone can often make claims that buildings are reinventing typologies and reshaping human behaviour. Add the fairy dust of PR spin into the mix and you have a perfect storm of bold claims and obfuscation. But what of the media? Are they immune from the puff and self-promotion, or are they complicit in a world of transactional communications? It seems that the answer is a little of both, as resources are stretched and journalist numbers dwindle in an ever-encroaching world of automation and low fees. Can the critic truly criticise without the proper backing of their media-empire owners? Should we critique the level of criticism? How investigative is journalism? Who and what gets promoted and why? Architects expend huge amounts of energy on their projects and naturally seek to gain as much coverage as possible to help bolster their reputation and secure new business. However, not everything can get published and practices are often met by a wall of resounding silence when pushing their work out there. In a visual and aesthetically driven world, it can seem that striking shapes and colours will pretty much guarantee exposure over social purpose, spatial subtlety and less obvious agendas. Questions remain about how successfully the architectural press furthers the understanding of building design and elicits emotional connections with its audience. Furthermore, who is that audience and how much of an attempt is there to connect with those outside the architectural community in the arena of our broader cultural landscape? Architecture and the media co-exist in a dysfunctional relationship. Should we forget traditional modes of publication and look toward more immediate and engaging platforms such as TikTok or Instagram? What happens when the only reporting on buildings comes from the makers and not those trained to see through the bullshit? Speakers: Rob Fiehn (Chair) Oliver Wainwright, The Guardian Carolyn Larkin, Caro Communications Nyima Murry, writer and filmmaker Patrick Lynch, Lynch Architects and all others who want to contribute….</p>]]>
      </description>
      <content:encoded>
        <![CDATA[<p>Architects don’t just design buildings, they also ‘craft narratives’ to help explain them. Storytelling and the art of telling a good story plays an important role in successfully getting permissions and selling ideas to clients. This frequently involves some weird and wonderful language that pushes the boundaries of believability and comprehension, in both fellow professionals and the wider public. An eagerness to describe projects as a great thing for everyone can often make claims that buildings are reinventing typologies and reshaping human behaviour. Add the fairy dust of PR spin into the mix and you have a perfect storm of bold claims and obfuscation. But what of the media? Are they immune from the puff and self-promotion, or are they complicit in a world of transactional communications? It seems that the answer is a little of both, as resources are stretched and journalist numbers dwindle in an ever-encroaching world of automation and low fees. Can the critic truly criticise without the proper backing of their media-empire owners? Should we critique the level of criticism? How investigative is journalism? Who and what gets promoted and why? Architects expend huge amounts of energy on their projects and naturally seek to gain as much coverage as possible to help bolster their reputation and secure new business. However, not everything can get published and practices are often met by a wall of resounding silence when pushing their work out there. In a visual and aesthetically driven world, it can seem that striking shapes and colours will pretty much guarantee exposure over social purpose, spatial subtlety and less obvious agendas. Questions remain about how successfully the architectural press furthers the understanding of building design and elicits emotional connections with its audience. Furthermore, who is that audience and how much of an attempt is there to connect with those outside the architectural community in the arena of our broader cultural landscape? Architecture and the media co-exist in a dysfunctional relationship. Should we forget traditional modes of publication and look toward more immediate and engaging platforms such as TikTok or Instagram? What happens when the only reporting on buildings comes from the makers and not those trained to see through the bullshit? Speakers: Rob Fiehn (Chair) Oliver Wainwright, The Guardian Carolyn Larkin, Caro Communications Nyima Murry, writer and filmmaker Patrick Lynch, Lynch Architects and all others who want to contribute….</p>]]>
      </content:encoded>
      <pubDate>Mon, 12 Aug 2024 16:00:23 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/d6fced73/b0e74d23.mp3" length="84744310" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/f-HqRJ6QbWFYBM8naHgvGEXe-AU9Fr6elcPrSHaXHnI/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS8yMDQz/MjBjMDNjNmI4NDgy/MDg5YjA5NThkYzFh/NGE0MC5qcGc.jpg"/>
      <itunes:duration>5297</itunes:duration>
      <itunes:summary>Architects don’t just design buildings, they also ‘craft narratives’ to help explain them. Storytelling and the art of telling a good story plays an important role in successfully getting permissions and selling ideas to clients. 

This frequently involves some weird and wonderful language that pushes the boundaries of believability and comprehension, in both fellow professionals and the wider public. An eagerness to describe projects as a great thing for everyone can often make claims that buildings are reinventing typologies and reshaping human behaviour. Add the fairy dust of PR spin into the mix and you have a perfect storm of bold claims and obfuscation. 

But what of the media? Are they immune from the puff and self-promotion, or are they complicit in a world of transactional communications? It seems that the answer is a little of both, as resources are stretched and journalist numbers dwindle in an ever-encroaching world of automation and low fees. Can the critic truly criticise without the proper backing of their media-empire owners? Should we critique the level of criticism? How investigative is journalism? Who and what gets promoted and why? 

Architects expend huge amounts of energy on their projects and naturally seek to gain as much coverage as possible to help bolster their reputation and secure new business. However, not everything can get published and practices are often met by a wall of resounding silence when pushing their work out there. In a visual and aesthetically driven world, it can seem that striking shapes and colours will pretty much guarantee exposure over social purpose, spatial subtlety and less obvious agendas.

Questions remain about how successfully the architectural press furthers the understanding of building design and elicits emotional connections with its audience. Furthermore, who is that audience and how much of an attempt is there to connect with those outside the architectural community in the arena of our broader cultural landscape?

Architecture and the media co-exist in a dysfunctional relationship. Should we forget traditional modes of publication and look toward more immediate and engaging platforms such as TikTok or Instagram? What happens when the only reporting on buildings comes from the makers and not those trained to see through the bullshit? 

Speakers: 

Rob Fiehn (Chair)                                                                                                                                                              Oliver Wainwright, The Guardian
Carolyn Larkin, Caro Communications            
Nyima Murry, writer and filmmaker 
Patrick Lynch, Lynch Architects                                                                                                                                                                                                  and all others who want to contribute….</itunes:summary>
      <itunes:subtitle>Architects don’t just design buildings, they also ‘craft narratives’ to help explain them. Storytelling and the art of telling a good story plays an important role in successfully getting permissions and selling ideas to clients. 

This frequently invol</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talks #S12 - Fit For Purpose: Are Architects Built For The 21st Century?</title>
      <itunes:episode>56</itunes:episode>
      <podcast:episode>56</podcast:episode>
      <itunes:title>Negroni Talks #S12 - Fit For Purpose: Are Architects Built For The 21st Century?</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1878246207</guid>
      <link>https://share.transistor.fm/s/1d81dc38</link>
      <description>
        <![CDATA[Do we think that architects are fit-for-purpose in the 21st century? The world is seemingly changing at an incredibly rapid pace, with the needs of clients and society in a state of constant flux. Strangely, it seems that both practice and education remain largely static however, we now know that the manner in which we have been taught to be architects in the last 30 years, is maybe no longer good enough. 
 
Architects historically took on a ‘master builder’ role which saw the profession in a much more central position to the conception of the masterplanning, design and construction phases of building projects. This role has been sidelined in recent decades, with the architect becoming just another name in a long list of consultants, so should architects accept this diminished role and become specialists within certain areas of design, or should they try to defend their place at the top table of key decision making? Would the latter maybe include relinquishing control over those petty details that architects like to fetishise so much over, and instead focus upon the elephant in the room, which is a lack of business acumen, adaptability, political and financial influence. 
 
The background setting for many of these debates is the climate emergency, and a lot of students are coming out of university with little to no desire to build anything at all. Furthermore, it can be seen that having real influence and control within the building industry sits more with clients or project management and so many are moving across into these kind of roles. Will we see a brain drain from traditional architectural practice? How then do we produce architects that can set up more dynamic types of architectural companies/ businesses and what kind of architects would this need? How do architects lead more to bring about much needed change and determine a more progressive built environment?
 
We must ask if we’re preparing young architects for a complex, ever-changing future and whether it is too late to teach old dogs new tricks for existing practitioners?

Speakers: 

Karen Willey, Always Thinking (Chair)                                                                                                                                                              Nick Searl, Argent
Lara Kinneir, London Interdisciplinary School          
Chris Williamson, Weston Williamson                                                                                                                                                                                                                                                                              
Amrit Seera, Vabel                                                                                                                                  Daniel Poku-Davies, Ourspaceuk

and all others who want to particpate…..]]>
      </description>
      <content:encoded>
        <![CDATA[Do we think that architects are fit-for-purpose in the 21st century? The world is seemingly changing at an incredibly rapid pace, with the needs of clients and society in a state of constant flux. Strangely, it seems that both practice and education remain largely static however, we now know that the manner in which we have been taught to be architects in the last 30 years, is maybe no longer good enough. 
 
Architects historically took on a ‘master builder’ role which saw the profession in a much more central position to the conception of the masterplanning, design and construction phases of building projects. This role has been sidelined in recent decades, with the architect becoming just another name in a long list of consultants, so should architects accept this diminished role and become specialists within certain areas of design, or should they try to defend their place at the top table of key decision making? Would the latter maybe include relinquishing control over those petty details that architects like to fetishise so much over, and instead focus upon the elephant in the room, which is a lack of business acumen, adaptability, political and financial influence. 
 
The background setting for many of these debates is the climate emergency, and a lot of students are coming out of university with little to no desire to build anything at all. Furthermore, it can be seen that having real influence and control within the building industry sits more with clients or project management and so many are moving across into these kind of roles. Will we see a brain drain from traditional architectural practice? How then do we produce architects that can set up more dynamic types of architectural companies/ businesses and what kind of architects would this need? How do architects lead more to bring about much needed change and determine a more progressive built environment?
 
We must ask if we’re preparing young architects for a complex, ever-changing future and whether it is too late to teach old dogs new tricks for existing practitioners?

Speakers: 

Karen Willey, Always Thinking (Chair)                                                                                                                                                              Nick Searl, Argent
Lara Kinneir, London Interdisciplinary School          
Chris Williamson, Weston Williamson                                                                                                                                                                                                                                                                              
Amrit Seera, Vabel                                                                                                                                  Daniel Poku-Davies, Ourspaceuk

and all others who want to particpate…..]]>
      </content:encoded>
      <pubDate>Mon, 22 Jul 2024 16:57:23 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/1d81dc38/b7e58d69.mp3" length="100372239" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/D1uh_CYpXBHoZTbg_yIdVMZu9G390oHErnxW-dDO43I/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS8wMzgw/ZTZhZmMxMzU4MTUy/YTRjODY1OWNhNDRl/OWM1MS5qcGc.jpg"/>
      <itunes:duration>6274</itunes:duration>
      <itunes:summary>Do we think that architects are fit-for-purpose in the 21st century? The world is seemingly changing at an incredibly rapid pace, with the needs of clients and society in a state of constant flux. Strangely, it seems that both practice and education remain largely static however, we now know that the manner in which we have been taught to be architects in the last 30 years, is maybe no longer good enough. 
 
Architects historically took on a ‘master builder’ role which saw the profession in a much more central position to the conception of the masterplanning, design and construction phases of building projects. This role has been sidelined in recent decades, with the architect becoming just another name in a long list of consultants, so should architects accept this diminished role and become specialists within certain areas of design, or should they try to defend their place at the top table of key decision making? Would the latter maybe include relinquishing control over those petty details that architects like to fetishise so much over, and instead focus upon the elephant in the room, which is a lack of business acumen, adaptability, political and financial influence. 
 
The background setting for many of these debates is the climate emergency, and a lot of students are coming out of university with little to no desire to build anything at all. Furthermore, it can be seen that having real influence and control within the building industry sits more with clients or project management and so many are moving across into these kind of roles. Will we see a brain drain from traditional architectural practice? How then do we produce architects that can set up more dynamic types of architectural companies/ businesses and what kind of architects would this need? How do architects lead more to bring about much needed change and determine a more progressive built environment?
 
We must ask if we’re preparing young architects for a complex, ever-changing future and whether it is too late to teach old dogs new tricks for existing practitioners?

Speakers: 

Karen Willey, Always Thinking (Chair)                                                                                                                                                              Nick Searl, Argent
Lara Kinneir, London Interdisciplinary School          
Chris Williamson, Weston Williamson                                                                                                                                                                                                                                                                              
Amrit Seera, Vabel                                                                                                                                  Daniel Poku-Davies, Ourspaceuk

and all others who want to particpate…..</itunes:summary>
      <itunes:subtitle>Do we think that architects are fit-for-purpose in the 21st century? The world is seemingly changing at an incredibly rapid pace, with the needs of clients and society in a state of constant flux. Strangely, it seems that both practice and education remai</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talks #s11 - Westward Ho! From Ealing Green to Old Oak Common</title>
      <itunes:episode>55</itunes:episode>
      <podcast:episode>55</podcast:episode>
      <itunes:title>Negroni Talks #s11 - Westward Ho! From Ealing Green to Old Oak Common</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1844880225</guid>
      <link>https://share.transistor.fm/s/141c6af4</link>
      <description>
        <![CDATA[Sir John Soane built Pitzhanger Manor at a time when Ealing was considered a nice location to have a ‘country retreat’. Things have obviously moved on since 1804 and in 2024 the house can be found sitting within the hustle and bustle of the Broadway – featuring shops, restaurants, offices and 200+ years’ worth of speculative residential developments. Soane wouldn’t recognise Ealing of the 21st century, however he did understand how to create a vision and sell ideas about ‘what could be’ to his patrons. It is an interesting context in which to consider what future plans there are for the further development of the local area, and how the powers that be may draw on the past in order to do so, in a manner that the great architect himself would have done?

With the arrival of a HS2 station site and the associated redevelopment planned for Old Oak Common and Park Royal, the London Borough of Ealing is now facing more immediate change than it has done for a long time. How will this work with existing communities and how will it impact on the identity of the area? With the local council recently bidding to be London borough of culture in 2025, questions around what Ealing has been, currently is and can become, seem all the more poignant.

Soane was a master of creating modern mythologies, whilst having a sensitivity toward ideas of loss and rebirth. His domestic architecture is engaged with evocative ideas about space and time, and a sensitive crafting of personal spaces that display grandeur, yet retain a distinct intimacy. In creating a localised world within the world, the manor house and its orchestrated surrounding landscape is also expansive in its outlook, referencing other cultures with an ever-present awareness/sense of ‘the eternal'.

The collaboration between Negroni Talks and Pitzhanger, came out of a feeling that the fates were somewhat aligned with the recent arrival at the Pitzhanger of prints from the Soane Collection, that recorded the vibrantly coloured roman frescos in the C2nd Villa Negroni in Rome. To bring the “Negroni Talks…!” to such prestigious architectural surroundings was too good an opportunity to miss and aligned perfectly with our ongoing desire to get new perspectives away from East london - so what better than to go to the west.

It seems fitting to host a talk about Ealing’s future development in the timeless atmosphere of an important piece of local, national and international heritage.

Speakers: 

Fourth_space (Chair)                                                                                                                                                              Eleanor Fawcett, Old Oak and Park Royal Development Corporation
Natalie Campbell MBE, social entrepreneur and broadcaster           
Peter Fink, artist
William Filmer-Sankey, Alan Baxter Associates]]>
      </description>
      <content:encoded>
        <![CDATA[Sir John Soane built Pitzhanger Manor at a time when Ealing was considered a nice location to have a ‘country retreat’. Things have obviously moved on since 1804 and in 2024 the house can be found sitting within the hustle and bustle of the Broadway – featuring shops, restaurants, offices and 200+ years’ worth of speculative residential developments. Soane wouldn’t recognise Ealing of the 21st century, however he did understand how to create a vision and sell ideas about ‘what could be’ to his patrons. It is an interesting context in which to consider what future plans there are for the further development of the local area, and how the powers that be may draw on the past in order to do so, in a manner that the great architect himself would have done?

With the arrival of a HS2 station site and the associated redevelopment planned for Old Oak Common and Park Royal, the London Borough of Ealing is now facing more immediate change than it has done for a long time. How will this work with existing communities and how will it impact on the identity of the area? With the local council recently bidding to be London borough of culture in 2025, questions around what Ealing has been, currently is and can become, seem all the more poignant.

Soane was a master of creating modern mythologies, whilst having a sensitivity toward ideas of loss and rebirth. His domestic architecture is engaged with evocative ideas about space and time, and a sensitive crafting of personal spaces that display grandeur, yet retain a distinct intimacy. In creating a localised world within the world, the manor house and its orchestrated surrounding landscape is also expansive in its outlook, referencing other cultures with an ever-present awareness/sense of ‘the eternal'.

The collaboration between Negroni Talks and Pitzhanger, came out of a feeling that the fates were somewhat aligned with the recent arrival at the Pitzhanger of prints from the Soane Collection, that recorded the vibrantly coloured roman frescos in the C2nd Villa Negroni in Rome. To bring the “Negroni Talks…!” to such prestigious architectural surroundings was too good an opportunity to miss and aligned perfectly with our ongoing desire to get new perspectives away from East london - so what better than to go to the west.

It seems fitting to host a talk about Ealing’s future development in the timeless atmosphere of an important piece of local, national and international heritage.

Speakers: 

Fourth_space (Chair)                                                                                                                                                              Eleanor Fawcett, Old Oak and Park Royal Development Corporation
Natalie Campbell MBE, social entrepreneur and broadcaster           
Peter Fink, artist
William Filmer-Sankey, Alan Baxter Associates]]>
      </content:encoded>
      <pubDate>Tue, 11 Jun 2024 15:26:09 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/141c6af4/8a86b232.mp3" length="105976642" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/qH6MSvPJ76XsU_RSNFwD8wNag-cTbBHcP2mL9stjMqQ/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9iNWJj/MjE3MjQzOTZhNjZm/MmQzYjQyNjNmNDUx/OTBjMy5qcGc.jpg"/>
      <itunes:duration>6624</itunes:duration>
      <itunes:summary>Sir John Soane built Pitzhanger Manor at a time when Ealing was considered a nice location to have a ‘country retreat’. Things have obviously moved on since 1804 and in 2024 the house can be found sitting within the hustle and bustle of the Broadway – featuring shops, restaurants, offices and 200+ years’ worth of speculative residential developments. Soane wouldn’t recognise Ealing of the 21st century, however he did understand how to create a vision and sell ideas about ‘what could be’ to his patrons. It is an interesting context in which to consider what future plans there are for the further development of the local area, and how the powers that be may draw on the past in order to do so, in a manner that the great architect himself would have done?

With the arrival of a HS2 station site and the associated redevelopment planned for Old Oak Common and Park Royal, the London Borough of Ealing is now facing more immediate change than it has done for a long time. How will this work with existing communities and how will it impact on the identity of the area? With the local council recently bidding to be London borough of culture in 2025, questions around what Ealing has been, currently is and can become, seem all the more poignant.

Soane was a master of creating modern mythologies, whilst having a sensitivity toward ideas of loss and rebirth. His domestic architecture is engaged with evocative ideas about space and time, and a sensitive crafting of personal spaces that display grandeur, yet retain a distinct intimacy. In creating a localised world within the world, the manor house and its orchestrated surrounding landscape is also expansive in its outlook, referencing other cultures with an ever-present awareness/sense of ‘the eternal'.

The collaboration between Negroni Talks and Pitzhanger, came out of a feeling that the fates were somewhat aligned with the recent arrival at the Pitzhanger of prints from the Soane Collection, that recorded the vibrantly coloured roman frescos in the C2nd Villa Negroni in Rome. To bring the “Negroni Talks…!” to such prestigious architectural surroundings was too good an opportunity to miss and aligned perfectly with our ongoing desire to get new perspectives away from East london - so what better than to go to the west.

It seems fitting to host a talk about Ealing’s future development in the timeless atmosphere of an important piece of local, national and international heritage.

Speakers: 

Fourth_space (Chair)                                                                                                                                                              Eleanor Fawcett, Old Oak and Park Royal Development Corporation
Natalie Campbell MBE, social entrepreneur and broadcaster           
Peter Fink, artist
William Filmer-Sankey, Alan Baxter Associates</itunes:summary>
      <itunes:subtitle>Sir John Soane built Pitzhanger Manor at a time when Ealing was considered a nice location to have a ‘country retreat’. Things have obviously moved on since 1804 and in 2024 the house can be found sitting within the hustle and bustle of the Broadway – fea</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #47 - So Giving Co-Living: Good Intention Or Bad Invention?</title>
      <itunes:episode>54</itunes:episode>
      <podcast:episode>54</podcast:episode>
      <itunes:title>Negroni Talk #47 - So Giving Co-Living: Good Intention Or Bad Invention?</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1833500475</guid>
      <link>https://share.transistor.fm/s/c8c03c1d</link>
      <description>
        <![CDATA[We’re living in housing crisis, and apparently a loneliness epidemic with everyone shut away doing their own thing behind closed doors. Surely the answer to this is for human beings to move away from the isolationism of their personal pursuits in property, and head back to what human civilisation has always been about, namely sharing resources and, most importantly, space. 

The public realm traditionally offers a natural setting to promote this ‘sharing’, but can the privacy of the domestic domain also do so in practice? 

Co-living (different to co-housing) is a relatively new foray for the UK residential market and it borrows many of the elements of the co-working model. The visionary rhetoric around it states that it addresses affordability, flexibility and provides an advantageous social way of living. But with private rooms and shared everything else, who is this model of housing aimed at and what is it like to live in?

In a post-pandemic world of cost inflation, pressure on budgets and profiteering in equal measure, it’s not hard to see that once the calculators come out, co-living is an attractive proposition for developers to double the number of inhabitants by halving the unit size. This in turn calls into the question the roles of architects, planners and the basic space standards that have been established as a matter of decency over the past few decades. 

Anyone who has lived in a converted Victorian terraced house share, knows of co-living as a mixed experience. In turn, some of the early co-living developments gave the typology a bad name, however, as with all building types, there will of course be good and bad examples. Co-living projects seem to continue springing up in cities across Europe and other parts of the world, and in some cases these seem like a genuine attempt to reduce the costs of city-centre living. Whilst the scale and number of proposals could be called into question, as can the future flexibility of the new buildings being created, there is may be potential for it to be a model of living that is helpful in the drive toward more adaptive reuse of existing buildings, which is good for the broader environment. 

So, does co-living represent a new ideal for our urban environment or is it a cynical tactic within the latest ‘gold rush’ to maximise profits from valuable land? 

Speakers: 

Rob Fiehn (Chair)                                                                                                                                                              Amy Frearson, author and journalist
Damien Sharkey, HUB            
Je Ahn, Studio Weave 
Gil Eaton, Third Revolution Projects                                                                                                                                                                                                   Simon Bayliss, HTA Design]]>
      </description>
      <content:encoded>
        <![CDATA[We’re living in housing crisis, and apparently a loneliness epidemic with everyone shut away doing their own thing behind closed doors. Surely the answer to this is for human beings to move away from the isolationism of their personal pursuits in property, and head back to what human civilisation has always been about, namely sharing resources and, most importantly, space. 

The public realm traditionally offers a natural setting to promote this ‘sharing’, but can the privacy of the domestic domain also do so in practice? 

Co-living (different to co-housing) is a relatively new foray for the UK residential market and it borrows many of the elements of the co-working model. The visionary rhetoric around it states that it addresses affordability, flexibility and provides an advantageous social way of living. But with private rooms and shared everything else, who is this model of housing aimed at and what is it like to live in?

In a post-pandemic world of cost inflation, pressure on budgets and profiteering in equal measure, it’s not hard to see that once the calculators come out, co-living is an attractive proposition for developers to double the number of inhabitants by halving the unit size. This in turn calls into the question the roles of architects, planners and the basic space standards that have been established as a matter of decency over the past few decades. 

Anyone who has lived in a converted Victorian terraced house share, knows of co-living as a mixed experience. In turn, some of the early co-living developments gave the typology a bad name, however, as with all building types, there will of course be good and bad examples. Co-living projects seem to continue springing up in cities across Europe and other parts of the world, and in some cases these seem like a genuine attempt to reduce the costs of city-centre living. Whilst the scale and number of proposals could be called into question, as can the future flexibility of the new buildings being created, there is may be potential for it to be a model of living that is helpful in the drive toward more adaptive reuse of existing buildings, which is good for the broader environment. 

So, does co-living represent a new ideal for our urban environment or is it a cynical tactic within the latest ‘gold rush’ to maximise profits from valuable land? 

Speakers: 

Rob Fiehn (Chair)                                                                                                                                                              Amy Frearson, author and journalist
Damien Sharkey, HUB            
Je Ahn, Studio Weave 
Gil Eaton, Third Revolution Projects                                                                                                                                                                                                   Simon Bayliss, HTA Design]]>
      </content:encoded>
      <pubDate>Thu, 30 May 2024 09:32:20 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/c8c03c1d/13b4b4c5.mp3" length="91591744" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/UhIq9XVpk5nR7tLG0vJXVssWR3c-uLREX_nrnvnVK8U/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS8zN2Nl/MzA2NDNlZjAwYjIz/ODkwNWM2ZWRjNDI4/MWZkNC5wbmc.jpg"/>
      <itunes:duration>5725</itunes:duration>
      <itunes:summary>We’re living in housing crisis, and apparently a loneliness epidemic with everyone shut away doing their own thing behind closed doors. Surely the answer to this is for human beings to move away from the isolationism of their personal pursuits in property, and head back to what human civilisation has always been about, namely sharing resources and, most importantly, space. 

The public realm traditionally offers a natural setting to promote this ‘sharing’, but can the privacy of the domestic domain also do so in practice? 

Co-living (different to co-housing) is a relatively new foray for the UK residential market and it borrows many of the elements of the co-working model. The visionary rhetoric around it states that it addresses affordability, flexibility and provides an advantageous social way of living. But with private rooms and shared everything else, who is this model of housing aimed at and what is it like to live in?

In a post-pandemic world of cost inflation, pressure on budgets and profiteering in equal measure, it’s not hard to see that once the calculators come out, co-living is an attractive proposition for developers to double the number of inhabitants by halving the unit size. This in turn calls into the question the roles of architects, planners and the basic space standards that have been established as a matter of decency over the past few decades. 

Anyone who has lived in a converted Victorian terraced house share, knows of co-living as a mixed experience. In turn, some of the early co-living developments gave the typology a bad name, however, as with all building types, there will of course be good and bad examples. Co-living projects seem to continue springing up in cities across Europe and other parts of the world, and in some cases these seem like a genuine attempt to reduce the costs of city-centre living. Whilst the scale and number of proposals could be called into question, as can the future flexibility of the new buildings being created, there is may be potential for it to be a model of living that is helpful in the drive toward more adaptive reuse of existing buildings, which is good for the broader environment. 

So, does co-living represent a new ideal for our urban environment or is it a cynical tactic within the latest ‘gold rush’ to maximise profits from valuable land? 

Speakers: 

Rob Fiehn (Chair)                                                                                                                                                              Amy Frearson, author and journalist
Damien Sharkey, HUB            
Je Ahn, Studio Weave 
Gil Eaton, Third Revolution Projects                                                                                                                                                                                                   Simon Bayliss, HTA Design</itunes:summary>
      <itunes:subtitle>We’re living in housing crisis, and apparently a loneliness epidemic with everyone shut away doing their own thing behind closed doors. Surely the answer to this is for human beings to move away from the isolationism of their personal pursuits in property</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talks #46 - Talkin’ ‘Bout My Generation: An Age Old Problem In Architecture?</title>
      <itunes:episode>53</itunes:episode>
      <podcast:episode>53</podcast:episode>
      <itunes:title>Negroni Talks #46 - Talkin’ ‘Bout My Generation: An Age Old Problem In Architecture?</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1811207064</guid>
      <link>https://share.transistor.fm/s/5428c31e</link>
      <description>
        <![CDATA[You’re an architect until you die, it’s a vocation and not a job. At least, that’s what some people would have you believe, with starchitects continuing to design well into their 90’s and succession plans drawn up to keep their practices going after they have left this mortal coil. Meanwhile, newly qualified architects emerging from years of study are met with a culture of “welcome to the real world ” at an age where others in music, fashion, film, and the arts generally, are already shaping the culture of their time through work that is often promoted as being ‘progressive’ and therefore ‘good business’.

It’s easy to see why the knowledgeable and experienced safe pair of hands would be attractive to a Building Industry that is extremely risk averse. Speculation is more often financial than about generating new ideas, so what does this mean for experimentation and pushing boundaries? 

Optics and Opportunity seem to play a huge role in the perception of Age in Architecture. You can still be considered a young architect well into your 40’s and whilst some ‘emerging and new’ practices are hired to sprinkle some exciting fairy dust on a project, to be consistently considered for significant schemes of a serious scale, you still need to be thought of as a larger and more established player. As with many areas of our culture, should we be worried that there is an incumbent generation that seems to dominate most of the impactful opportunities and commissions, which leaves younger people on the fringes feeling disenfranchised with a clear message that “you are good enough when you are old enough.”

Additionally, there also seems to be a real generation gap forming within the architectural community itself, particularly when it comes to concerns surrounding the climate, inequality, social justice and housing, which primarily affect younger generations. Are those practitioners formed by the C20th, fully committed to addressing these issues with the requisite urgency, vigour and alternative thinking required in the C21st? 

As a profession, where most seem to be passionate about the potential of architecture to improve people’s lives through progressive thinking, how do we better harness the idealism of youth with the experience / knowledge that comes with age, so that it can do so more often? 

Speakers:

Rob Fiehn (chair)                                                                                                                                                              Sarah Wigglesworth, Architect
Dennis Austin, Daab Design    
Bushra Mohamed, Msoma Architects
Adithya David Premraj, Serie Architects                                                                                                         Neil Pinder, HomeGrown Plus

amongst others…]]>
      </description>
      <content:encoded>
        <![CDATA[You’re an architect until you die, it’s a vocation and not a job. At least, that’s what some people would have you believe, with starchitects continuing to design well into their 90’s and succession plans drawn up to keep their practices going after they have left this mortal coil. Meanwhile, newly qualified architects emerging from years of study are met with a culture of “welcome to the real world ” at an age where others in music, fashion, film, and the arts generally, are already shaping the culture of their time through work that is often promoted as being ‘progressive’ and therefore ‘good business’.

It’s easy to see why the knowledgeable and experienced safe pair of hands would be attractive to a Building Industry that is extremely risk averse. Speculation is more often financial than about generating new ideas, so what does this mean for experimentation and pushing boundaries? 

Optics and Opportunity seem to play a huge role in the perception of Age in Architecture. You can still be considered a young architect well into your 40’s and whilst some ‘emerging and new’ practices are hired to sprinkle some exciting fairy dust on a project, to be consistently considered for significant schemes of a serious scale, you still need to be thought of as a larger and more established player. As with many areas of our culture, should we be worried that there is an incumbent generation that seems to dominate most of the impactful opportunities and commissions, which leaves younger people on the fringes feeling disenfranchised with a clear message that “you are good enough when you are old enough.”

Additionally, there also seems to be a real generation gap forming within the architectural community itself, particularly when it comes to concerns surrounding the climate, inequality, social justice and housing, which primarily affect younger generations. Are those practitioners formed by the C20th, fully committed to addressing these issues with the requisite urgency, vigour and alternative thinking required in the C21st? 

As a profession, where most seem to be passionate about the potential of architecture to improve people’s lives through progressive thinking, how do we better harness the idealism of youth with the experience / knowledge that comes with age, so that it can do so more often? 

Speakers:

Rob Fiehn (chair)                                                                                                                                                              Sarah Wigglesworth, Architect
Dennis Austin, Daab Design    
Bushra Mohamed, Msoma Architects
Adithya David Premraj, Serie Architects                                                                                                         Neil Pinder, HomeGrown Plus

amongst others…]]>
      </content:encoded>
      <pubDate>Tue, 30 Apr 2024 15:14:13 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/5428c31e/719df6f2.mp3" length="100603460" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/Qho_hEGCQhTs2FWADfeyeQaW4nh3xpcSyCKSbUXDCGY/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS81YThi/NGViZDc4ZDRmZTEy/M2EzNDdmYWU4Mjdl/OTE5MC5qcGc.jpg"/>
      <itunes:duration>6288</itunes:duration>
      <itunes:summary>You’re an architect until you die, it’s a vocation and not a job. At least, that’s what some people would have you believe, with starchitects continuing to design well into their 90’s and succession plans drawn up to keep their practices going after they have left this mortal coil. Meanwhile, newly qualified architects emerging from years of study are met with a culture of “welcome to the real world ” at an age where others in music, fashion, film, and the arts generally, are already shaping the culture of their time through work that is often promoted as being ‘progressive’ and therefore ‘good business’.

It’s easy to see why the knowledgeable and experienced safe pair of hands would be attractive to a Building Industry that is extremely risk averse. Speculation is more often financial than about generating new ideas, so what does this mean for experimentation and pushing boundaries? 

Optics and Opportunity seem to play a huge role in the perception of Age in Architecture. You can still be considered a young architect well into your 40’s and whilst some ‘emerging and new’ practices are hired to sprinkle some exciting fairy dust on a project, to be consistently considered for significant schemes of a serious scale, you still need to be thought of as a larger and more established player. As with many areas of our culture, should we be worried that there is an incumbent generation that seems to dominate most of the impactful opportunities and commissions, which leaves younger people on the fringes feeling disenfranchised with a clear message that “you are good enough when you are old enough.”

Additionally, there also seems to be a real generation gap forming within the architectural community itself, particularly when it comes to concerns surrounding the climate, inequality, social justice and housing, which primarily affect younger generations. Are those practitioners formed by the C20th, fully committed to addressing these issues with the requisite urgency, vigour and alternative thinking required in the C21st? 

As a profession, where most seem to be passionate about the potential of architecture to improve people’s lives through progressive thinking, how do we better harness the idealism of youth with the experience / knowledge that comes with age, so that it can do so more often? 

Speakers:

Rob Fiehn (chair)                                                                                                                                                              Sarah Wigglesworth, Architect
Dennis Austin, Daab Design    
Bushra Mohamed, Msoma Architects
Adithya David Premraj, Serie Architects                                                                                                         Neil Pinder, HomeGrown Plus

amongst others…</itunes:summary>
      <itunes:subtitle>You’re an architect until you die, it’s a vocation and not a job. At least, that’s what some people would have you believe, with starchitects continuing to design well into their 90’s and succession plans drawn up to keep their practices going after they </itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #45 - The Last Bastion: A Battleground Between Value And Values?</title>
      <itunes:episode>52</itunes:episode>
      <podcast:episode>52</podcast:episode>
      <itunes:title>Negroni Talk #45 - The Last Bastion: A Battleground Between Value And Values?</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1779973008</guid>
      <link>https://share.transistor.fm/s/143f065a</link>
      <description>
        <![CDATA[The Barbican is under siege! This might seem to be a natural and unremarkable occurrence for a medieval fortified outpost. However, the Barbican in question is a mixed-use residential and cultural complex within the City of London. Home to cinemas, concert halls, the LSO and over 4000 residents, it is also an international symbol of 'modern architecture' and a unique estate within the financial heart of London’s square mile. With its bold forms, spatial variety/complexity and an attention to materials/design detail, it is feted by architectural enthusiasts from around the world, who flock to take pictures and enjoy the activities inside, while TikTok makers dance around the elevated walkways for their followers.

But there is now a new brutalism in town. You might think that this paragon of utopian design and example of volte-face grade II listing, would be protected by its landlords. However, surrounded on all sides and increasingly overshadowed by encroaching commercial developments, this civic landscape feels under attack, with developers circling the ramparts looking for areas to storm and pieces they can occupy. One such skirmish, is the strategic outpost of Bastion House and the old Museum of London. Soon to be vacant, these have been branded defunct and earmarked for demolition, in favour of yet another series of investor driven glass blocks that have become the dominating form of building. It seems that form does only follow finance.

As a cultural citadel in the face of a commercial city, this then is an extreme example of a battle that is being fought in towns and cities across the country (and indeed globally). But does it have to be this way? We know that we can’t lay old buildings to waste like we have done historically, and architects responsible for intelligent retrofit projects are now celebrated as part of a new vanguard. With a strong local opposition to the proposed annexing of these buildings at the Barbican, wouldn’t it make more sense to consider a way to reuse them and ensure they are brought back into the fold as a reinvigorated part of the neighbour hood rather than become a trophy asset, looted and taken over for profiteering?

The outcome, could well set a dangerous precedent for key parts of our twentieth century heritage….

Speakers:

Helen Barrett, journalist (chair)                                                                                                                                                              Robert Elms, broadcaster
Tyler Goodwin, Seaforth Land     
Dr Ruth Lang, Design Museum Future Observatory
Jan-Marc Petroschka and Barbican Quarter Action

amongst others…]]>
      </description>
      <content:encoded>
        <![CDATA[The Barbican is under siege! This might seem to be a natural and unremarkable occurrence for a medieval fortified outpost. However, the Barbican in question is a mixed-use residential and cultural complex within the City of London. Home to cinemas, concert halls, the LSO and over 4000 residents, it is also an international symbol of 'modern architecture' and a unique estate within the financial heart of London’s square mile. With its bold forms, spatial variety/complexity and an attention to materials/design detail, it is feted by architectural enthusiasts from around the world, who flock to take pictures and enjoy the activities inside, while TikTok makers dance around the elevated walkways for their followers.

But there is now a new brutalism in town. You might think that this paragon of utopian design and example of volte-face grade II listing, would be protected by its landlords. However, surrounded on all sides and increasingly overshadowed by encroaching commercial developments, this civic landscape feels under attack, with developers circling the ramparts looking for areas to storm and pieces they can occupy. One such skirmish, is the strategic outpost of Bastion House and the old Museum of London. Soon to be vacant, these have been branded defunct and earmarked for demolition, in favour of yet another series of investor driven glass blocks that have become the dominating form of building. It seems that form does only follow finance.

As a cultural citadel in the face of a commercial city, this then is an extreme example of a battle that is being fought in towns and cities across the country (and indeed globally). But does it have to be this way? We know that we can’t lay old buildings to waste like we have done historically, and architects responsible for intelligent retrofit projects are now celebrated as part of a new vanguard. With a strong local opposition to the proposed annexing of these buildings at the Barbican, wouldn’t it make more sense to consider a way to reuse them and ensure they are brought back into the fold as a reinvigorated part of the neighbour hood rather than become a trophy asset, looted and taken over for profiteering?

The outcome, could well set a dangerous precedent for key parts of our twentieth century heritage….

Speakers:

Helen Barrett, journalist (chair)                                                                                                                                                              Robert Elms, broadcaster
Tyler Goodwin, Seaforth Land     
Dr Ruth Lang, Design Museum Future Observatory
Jan-Marc Petroschka and Barbican Quarter Action

amongst others…]]>
      </content:encoded>
      <pubDate>Wed, 20 Mar 2024 15:46:13 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/143f065a/20d804f1.mp3" length="81438685" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/j7syms25f6zC0o5hf4hyyfkivgRdBvqNJ1ub1E1hcTU/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9iZjUx/YjdmMTFhYjY4Zjlm/ZjhiNDMyZDk0ZTcy/OTI0Zi5qcGc.jpg"/>
      <itunes:duration>5090</itunes:duration>
      <itunes:summary>The Barbican is under siege! This might seem to be a natural and unremarkable occurrence for a medieval fortified outpost. However, the Barbican in question is a mixed-use residential and cultural complex within the City of London. Home to cinemas, concert halls, the LSO and over 4000 residents, it is also an international symbol of 'modern architecture' and a unique estate within the financial heart of London’s square mile. With its bold forms, spatial variety/complexity and an attention to materials/design detail, it is feted by architectural enthusiasts from around the world, who flock to take pictures and enjoy the activities inside, while TikTok makers dance around the elevated walkways for their followers.

But there is now a new brutalism in town. You might think that this paragon of utopian design and example of volte-face grade II listing, would be protected by its landlords. However, surrounded on all sides and increasingly overshadowed by encroaching commercial developments, this civic landscape feels under attack, with developers circling the ramparts looking for areas to storm and pieces they can occupy. One such skirmish, is the strategic outpost of Bastion House and the old Museum of London. Soon to be vacant, these have been branded defunct and earmarked for demolition, in favour of yet another series of investor driven glass blocks that have become the dominating form of building. It seems that form does only follow finance.

As a cultural citadel in the face of a commercial city, this then is an extreme example of a battle that is being fought in towns and cities across the country (and indeed globally). But does it have to be this way? We know that we can’t lay old buildings to waste like we have done historically, and architects responsible for intelligent retrofit projects are now celebrated as part of a new vanguard. With a strong local opposition to the proposed annexing of these buildings at the Barbican, wouldn’t it make more sense to consider a way to reuse them and ensure they are brought back into the fold as a reinvigorated part of the neighbour hood rather than become a trophy asset, looted and taken over for profiteering?

The outcome, could well set a dangerous precedent for key parts of our twentieth century heritage….

Speakers:

Helen Barrett, journalist (chair)                                                                                                                                                              Robert Elms, broadcaster
Tyler Goodwin, Seaforth Land     
Dr Ruth Lang, Design Museum Future Observatory
Jan-Marc Petroschka and Barbican Quarter Action

amongst others…</itunes:summary>
      <itunes:subtitle>The Barbican is under siege! This might seem to be a natural and unremarkable occurrence for a medieval fortified outpost. However, the Barbican in question is a mixed-use residential and cultural complex within the City of London. Home to cinemas, concer</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #44 - Fabric Of Fear: A Discussion About Designing Out Danger In The Urban Realm.</title>
      <itunes:episode>51</itunes:episode>
      <podcast:episode>51</podcast:episode>
      <itunes:title>Negroni Talk #44 - Fabric Of Fear: A Discussion About Designing Out Danger In The Urban Realm.</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1754049786</guid>
      <link>https://share.transistor.fm/s/c0f76da3</link>
      <description>
        <![CDATA[One headphone out, keys in hand and checking the street behind you is a familiar experience for a lot of people on their way home, particularly women and those from marginalised groups. And these feelings are not purely anecdotal, as a recent report from the fitness app Strava revealed that UK women are twice as likely to feel unsafe on a run when compared to the global average. In a similar vein, Arup’s Queering Public Spaces study showed that many LGBTQ+ people feel they have to switch or hide their identities when entering a public space or avoid particular areas altogether. How did one of the richest nations on the planet end up with cities that terrify their occupants, particularly once the sun sets?

It’s clear we need a rethink of how we shape the cities of the future if they are to be truly inclusive places. Those in law enforcement who are meant to protect the public have been found wanting on a number of occasions in the last few years for instance. And state-funded campaigns often seen to place the onus on keeping safe with the vulnerable themselves. So the question is who should be designing our urban landscapes when it has clearly gone so badly for so long? Does profit affect safety when we prioritise endless housing over the creation of mixed-use developments with an abundance of life and fewer dark streets? How do we make sure that everyone feels responsible for tackling fear and not just those we suffer from it? And how much of a case can be made for our cities maintaining a degree of unpredictability: after all a lot of us who have moved from smaller settlements to the ‘big city’ did so with the intention of making the most of the frisson of unknown excitement that comes with collectively living with large numbers of strangers?

From the spray can to the development plan, there are tactics to raise awareness and shine a light (sometimes literally) on the problem. We need to gather solutions and challenge a system that is clearly broken for the most vulnerable in society.

Speakers:

Helen Parton (chair)  
PFarah Benis, FFA Security Group &amp; Catcalls of London
Hanna Benihoud, Artist                                                                                                                                      Deborah Saunt, DSDHA                                                                                                                             Martyn Evans, LandsecU+I                                                                                                                          Sarah Ackland, PhD researcher, muf architecture/art                                                                                                                                                                                                                                                                  

amongst others….

On the night….]]>
      </description>
      <content:encoded>
        <![CDATA[One headphone out, keys in hand and checking the street behind you is a familiar experience for a lot of people on their way home, particularly women and those from marginalised groups. And these feelings are not purely anecdotal, as a recent report from the fitness app Strava revealed that UK women are twice as likely to feel unsafe on a run when compared to the global average. In a similar vein, Arup’s Queering Public Spaces study showed that many LGBTQ+ people feel they have to switch or hide their identities when entering a public space or avoid particular areas altogether. How did one of the richest nations on the planet end up with cities that terrify their occupants, particularly once the sun sets?

It’s clear we need a rethink of how we shape the cities of the future if they are to be truly inclusive places. Those in law enforcement who are meant to protect the public have been found wanting on a number of occasions in the last few years for instance. And state-funded campaigns often seen to place the onus on keeping safe with the vulnerable themselves. So the question is who should be designing our urban landscapes when it has clearly gone so badly for so long? Does profit affect safety when we prioritise endless housing over the creation of mixed-use developments with an abundance of life and fewer dark streets? How do we make sure that everyone feels responsible for tackling fear and not just those we suffer from it? And how much of a case can be made for our cities maintaining a degree of unpredictability: after all a lot of us who have moved from smaller settlements to the ‘big city’ did so with the intention of making the most of the frisson of unknown excitement that comes with collectively living with large numbers of strangers?

From the spray can to the development plan, there are tactics to raise awareness and shine a light (sometimes literally) on the problem. We need to gather solutions and challenge a system that is clearly broken for the most vulnerable in society.

Speakers:

Helen Parton (chair)  
PFarah Benis, FFA Security Group &amp; Catcalls of London
Hanna Benihoud, Artist                                                                                                                                      Deborah Saunt, DSDHA                                                                                                                             Martyn Evans, LandsecU+I                                                                                                                          Sarah Ackland, PhD researcher, muf architecture/art                                                                                                                                                                                                                                                                  

amongst others….

On the night….]]>
      </content:encoded>
      <pubDate>Wed, 21 Feb 2024 16:27:10 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/c0f76da3/deb15a35.mp3" length="81424491" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/7KgVnRsnfuOo7zFW2d56RW4_CIRhVmheFMi-GjgeCpw/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS8xODhh/M2JhYWQwM2ZlOGQy/NTFjODQzOTViODVk/YmUwYi5qcGc.jpg"/>
      <itunes:duration>5089</itunes:duration>
      <itunes:summary>One headphone out, keys in hand and checking the street behind you is a familiar experience for a lot of people on their way home, particularly women and those from marginalised groups. And these feelings are not purely anecdotal, as a recent report from the fitness app Strava revealed that UK women are twice as likely to feel unsafe on a run when compared to the global average. In a similar vein, Arup’s Queering Public Spaces study showed that many LGBTQ+ people feel they have to switch or hide their identities when entering a public space or avoid particular areas altogether. How did one of the richest nations on the planet end up with cities that terrify their occupants, particularly once the sun sets?

It’s clear we need a rethink of how we shape the cities of the future if they are to be truly inclusive places. Those in law enforcement who are meant to protect the public have been found wanting on a number of occasions in the last few years for instance. And state-funded campaigns often seen to place the onus on keeping safe with the vulnerable themselves. So the question is who should be designing our urban landscapes when it has clearly gone so badly for so long? Does profit affect safety when we prioritise endless housing over the creation of mixed-use developments with an abundance of life and fewer dark streets? How do we make sure that everyone feels responsible for tackling fear and not just those we suffer from it? And how much of a case can be made for our cities maintaining a degree of unpredictability: after all a lot of us who have moved from smaller settlements to the ‘big city’ did so with the intention of making the most of the frisson of unknown excitement that comes with collectively living with large numbers of strangers?

From the spray can to the development plan, there are tactics to raise awareness and shine a light (sometimes literally) on the problem. We need to gather solutions and challenge a system that is clearly broken for the most vulnerable in society.

Speakers:

Helen Parton (chair)  
PFarah Benis, FFA Security Group &amp;amp; Catcalls of London
Hanna Benihoud, Artist                                                                                                                                      Deborah Saunt, DSDHA                                                                                                                             Martyn Evans, LandsecU+I                                                                                                                          Sarah Ackland, PhD researcher, muf architecture/art                                                                                                                                                                                                                                                                  

amongst others….

On the night….</itunes:summary>
      <itunes:subtitle>One headphone out, keys in hand and checking the street behind you is a familiar experience for a lot of people on their way home, particularly women and those from marginalised groups. And these feelings are not purely anecdotal, as a recent report from </itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talks #43 - Mods or Trads? History and Histrionics In Architecture</title>
      <itunes:episode>50</itunes:episode>
      <podcast:episode>50</podcast:episode>
      <itunes:title>Negroni Talks #43 - Mods or Trads? History and Histrionics In Architecture</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1740174999</guid>
      <link>https://share.transistor.fm/s/af7da17a</link>
      <description>
        <![CDATA[Mods or Trads? History and Histrionics In Architecture

According to social media, we are in the middle of a culture war for both the past and future of architecture. Lines have been drawn and tribes are assembling on a beach with the tide coming in. On one side we have groups that want to protect our modernist heritage and seem to enjoy high-quality contemporary architecture. On the other is a growing collective that extoll the virtues of traditional aesthetics, often following a stylistic approach to buildings based on historical and classical principles and proportions.

Of course, the reality is much more nuanced, complex and intertwined. The challenge of creating decent cities is highly political and wedded to the constraints and opportunities of financing, and there is the small matter of public opinion. However, it is important that we don’t dismiss the debates raging about preservation, adaptation and the creation of new buildings. The vast majority of people seem to be united by a desire to make places and spaces that are pleasant to live in, with much agreement on maintaining a sense of humanism in our built environment, making architecture that people can relate to, as well as protecting the natural world wherever possible.

This discussion allows us the opportunity to consider the very definition of ‘tradition’ in architecture, especially when you consider that modernism is now 100 years old! Why are places whose identities are tied to post-war building programmes and ‘brutalism’ still viewed as the antithesis to our concept of 'the historic’ and ‘heritage’? In being 25 years into a new millennium, within a multicultural, inter-generational society, what does ‘heritage’ mean anyway? Whose heritage are we talking about and at what point do we draw lines on a timeline of style? Ultimately, does it matter what a building looks like on the outside if the people inside are happy and healthy?

Speakers:

RF HW &amp; TCS (chair)   
Cath Slessor, Twentieth Century Society
Robert Adam, Robert Adam Consultancy Ltd                                                                                                                                     David Kohn, David Kohn Architects                                                                                                             Selasi Setufe, Be FirstNick                                                                                                                                                                                                                                                  

amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[Mods or Trads? History and Histrionics In Architecture

According to social media, we are in the middle of a culture war for both the past and future of architecture. Lines have been drawn and tribes are assembling on a beach with the tide coming in. On one side we have groups that want to protect our modernist heritage and seem to enjoy high-quality contemporary architecture. On the other is a growing collective that extoll the virtues of traditional aesthetics, often following a stylistic approach to buildings based on historical and classical principles and proportions.

Of course, the reality is much more nuanced, complex and intertwined. The challenge of creating decent cities is highly political and wedded to the constraints and opportunities of financing, and there is the small matter of public opinion. However, it is important that we don’t dismiss the debates raging about preservation, adaptation and the creation of new buildings. The vast majority of people seem to be united by a desire to make places and spaces that are pleasant to live in, with much agreement on maintaining a sense of humanism in our built environment, making architecture that people can relate to, as well as protecting the natural world wherever possible.

This discussion allows us the opportunity to consider the very definition of ‘tradition’ in architecture, especially when you consider that modernism is now 100 years old! Why are places whose identities are tied to post-war building programmes and ‘brutalism’ still viewed as the antithesis to our concept of 'the historic’ and ‘heritage’? In being 25 years into a new millennium, within a multicultural, inter-generational society, what does ‘heritage’ mean anyway? Whose heritage are we talking about and at what point do we draw lines on a timeline of style? Ultimately, does it matter what a building looks like on the outside if the people inside are happy and healthy?

Speakers:

RF HW &amp; TCS (chair)   
Cath Slessor, Twentieth Century Society
Robert Adam, Robert Adam Consultancy Ltd                                                                                                                                     David Kohn, David Kohn Architects                                                                                                             Selasi Setufe, Be FirstNick                                                                                                                                                                                                                                                  

amongst others….]]>
      </content:encoded>
      <pubDate>Wed, 07 Feb 2024 09:44:22 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/af7da17a/6a5e2093.mp3" length="85584419" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/cmnAhXZLiJtmCXAZo8cewVFDhE4eHdunas8WhnIUFlA/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS81OTVh/MmM5ZjBjNjFjNjhk/ODM0NDMyMmM4NGY3/ZmU4My5qcGc.jpg"/>
      <itunes:duration>5349</itunes:duration>
      <itunes:summary>Mods or Trads? History and Histrionics In Architecture

According to social media, we are in the middle of a culture war for both the past and future of architecture. Lines have been drawn and tribes are assembling on a beach with the tide coming in. On one side we have groups that want to protect our modernist heritage and seem to enjoy high-quality contemporary architecture. On the other is a growing collective that extoll the virtues of traditional aesthetics, often following a stylistic approach to buildings based on historical and classical principles and proportions.

Of course, the reality is much more nuanced, complex and intertwined. The challenge of creating decent cities is highly political and wedded to the constraints and opportunities of financing, and there is the small matter of public opinion. However, it is important that we don’t dismiss the debates raging about preservation, adaptation and the creation of new buildings. The vast majority of people seem to be united by a desire to make places and spaces that are pleasant to live in, with much agreement on maintaining a sense of humanism in our built environment, making architecture that people can relate to, as well as protecting the natural world wherever possible.

This discussion allows us the opportunity to consider the very definition of ‘tradition’ in architecture, especially when you consider that modernism is now 100 years old! Why are places whose identities are tied to post-war building programmes and ‘brutalism’ still viewed as the antithesis to our concept of 'the historic’ and ‘heritage’? In being 25 years into a new millennium, within a multicultural, inter-generational society, what does ‘heritage’ mean anyway? Whose heritage are we talking about and at what point do we draw lines on a timeline of style? Ultimately, does it matter what a building looks like on the outside if the people inside are happy and healthy?

Speakers:

RF HW &amp;amp; TCS (chair)   
Cath Slessor, Twentieth Century Society
Robert Adam, Robert Adam Consultancy Ltd                                                                                                                                     David Kohn, David Kohn Architects                                                                                                             Selasi Setufe, Be FirstNick                                                                                                                                                                                                                                                  

amongst others….</itunes:summary>
      <itunes:subtitle>Mods or Trads? History and Histrionics In Architecture

According to social media, we are in the middle of a culture war for both the past and future of architecture. Lines have been drawn and tribes are assembling on a beach with the tide coming in. On o</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #S10 Meanwhile……..Materials? : Progressive Ingredients In A Regressive Industry</title>
      <itunes:episode>49</itunes:episode>
      <podcast:episode>49</podcast:episode>
      <itunes:title>Negroni Talk #S10 Meanwhile……..Materials? : Progressive Ingredients In A Regressive Industry</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1663755519</guid>
      <link>https://share.transistor.fm/s/abd9192c</link>
      <description>
        <![CDATA[We’ve seen hemp houses and walls made of rammed earth, rammed stone and anything else you can ‘ram’. Timber has designers drooling at the mention of the word and there was even a show about straw last year that had architects queuing round the block. There is a huge appetite for a ‘return to the natural’ with ‘new’ (maybe old!) and exciting building materials, however, the practical implementation of these at a scale that will actually make a difference seems at present negligible. 

The built environment is still dominated by the big three materials of the 20th century, namely glass, steel and concrete, with powerful political lobbyists protecting a material supply chain that is resistant to change. Is this symptomatic of a lack of progressive thinking, imagination, outdated regulation or simply a problem of delivering at scale across different building typologies? Is there a case for a system that takes the best of each material that creates a hybridised system, mixing the best elements of natural and man-made products? For instance, stone buildings have long relied on huge amounts of steel. 

There are many hurdles to overcome. Progressive materials come with their own ecological issues and they don’t fit into a world dictated by fire regulations and insurance companies. Maybe we will be forced to think of materials as transient, moving from building to building with their own passports. Or could we justify something carbon intensive if it provides us a frame within which we could infill with materials grown on a farm or even a lab. And what of ubiquitous use of glass in the future, unless of course we are happy to simply have smaller windows? 

The debate on building materials can be polarising in the extreme, but it’s high time we made some concrete plans for more intelligent design and construction. Or perhaps we just can’t see the wood for the trees….

Speakers: 

Vanessa Norwood, Curator / Cultural Strategist (Chair)                                                                                    Joe Giddings, Built by Nature                                                                                                                      Elaine Toogood, The Concrete Centre                                                                                                            Paul Duggan, Elliot Wood                                                                                                                           Bola Ogunmefun, Tisserin Engineers Ltd]]>
      </description>
      <content:encoded>
        <![CDATA[We’ve seen hemp houses and walls made of rammed earth, rammed stone and anything else you can ‘ram’. Timber has designers drooling at the mention of the word and there was even a show about straw last year that had architects queuing round the block. There is a huge appetite for a ‘return to the natural’ with ‘new’ (maybe old!) and exciting building materials, however, the practical implementation of these at a scale that will actually make a difference seems at present negligible. 

The built environment is still dominated by the big three materials of the 20th century, namely glass, steel and concrete, with powerful political lobbyists protecting a material supply chain that is resistant to change. Is this symptomatic of a lack of progressive thinking, imagination, outdated regulation or simply a problem of delivering at scale across different building typologies? Is there a case for a system that takes the best of each material that creates a hybridised system, mixing the best elements of natural and man-made products? For instance, stone buildings have long relied on huge amounts of steel. 

There are many hurdles to overcome. Progressive materials come with their own ecological issues and they don’t fit into a world dictated by fire regulations and insurance companies. Maybe we will be forced to think of materials as transient, moving from building to building with their own passports. Or could we justify something carbon intensive if it provides us a frame within which we could infill with materials grown on a farm or even a lab. And what of ubiquitous use of glass in the future, unless of course we are happy to simply have smaller windows? 

The debate on building materials can be polarising in the extreme, but it’s high time we made some concrete plans for more intelligent design and construction. Or perhaps we just can’t see the wood for the trees….

Speakers: 

Vanessa Norwood, Curator / Cultural Strategist (Chair)                                                                                    Joe Giddings, Built by Nature                                                                                                                      Elaine Toogood, The Concrete Centre                                                                                                            Paul Duggan, Elliot Wood                                                                                                                           Bola Ogunmefun, Tisserin Engineers Ltd]]>
      </content:encoded>
      <pubDate>Mon, 13 Nov 2023 11:03:25 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/abd9192c/5f5a3f54.mp3" length="54838199" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/xc5Y8dQwVuEHthYMP7uhqdBR-oF98nCba4NFvLnWWvQ/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS84ZTQ0/ZTQwNDNhNGZmMWYx/ZDBjYTgxZDU0ZmQ2/YWQ4My5qcGc.jpg"/>
      <itunes:duration>3428</itunes:duration>
      <itunes:summary>We’ve seen hemp houses and walls made of rammed earth, rammed stone and anything else you can ‘ram’. Timber has designers drooling at the mention of the word and there was even a show about straw last year that had architects queuing round the block. There is a huge appetite for a ‘return to the natural’ with ‘new’ (maybe old!) and exciting building materials, however, the practical implementation of these at a scale that will actually make a difference seems at present negligible. 

The built environment is still dominated by the big three materials of the 20th century, namely glass, steel and concrete, with powerful political lobbyists protecting a material supply chain that is resistant to change. Is this symptomatic of a lack of progressive thinking, imagination, outdated regulation or simply a problem of delivering at scale across different building typologies? Is there a case for a system that takes the best of each material that creates a hybridised system, mixing the best elements of natural and man-made products? For instance, stone buildings have long relied on huge amounts of steel. 

There are many hurdles to overcome. Progressive materials come with their own ecological issues and they don’t fit into a world dictated by fire regulations and insurance companies. Maybe we will be forced to think of materials as transient, moving from building to building with their own passports. Or could we justify something carbon intensive if it provides us a frame within which we could infill with materials grown on a farm or even a lab. And what of ubiquitous use of glass in the future, unless of course we are happy to simply have smaller windows? 

The debate on building materials can be polarising in the extreme, but it’s high time we made some concrete plans for more intelligent design and construction. Or perhaps we just can’t see the wood for the trees….

Speakers: 

Vanessa Norwood, Curator / Cultural Strategist (Chair)                                                                                    Joe Giddings, Built by Nature                                                                                                                      Elaine Toogood, The Concrete Centre                                                                                                            Paul Duggan, Elliot Wood                                                                                                                           Bola Ogunmefun, Tisserin Engineers Ltd</itunes:summary>
      <itunes:subtitle>We’ve seen hemp houses and walls made of rammed earth, rammed stone and anything else you can ‘ram’. Timber has designers drooling at the mention of the word and there was even a show about straw last year that had architects queuing round the block. Ther</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #42 -Fees F:or Free: The Divide And Conquer Of Architecture?</title>
      <itunes:episode>48</itunes:episode>
      <podcast:episode>48</podcast:episode>
      <itunes:title>Negroni Talk #42 -Fees F:or Free: The Divide And Conquer Of Architecture?</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1659008220</guid>
      <link>https://share.transistor.fm/s/80979ea0</link>
      <description>
        <![CDATA[How many times have we heard the phrase “race to the bottom” when it comes to architects discussing fees and design quality. With practices closing their doors and citing the undercutting of their fees as a key factor, competition seems to have defeated camaraderie and we have to ask if the profession is eating itself? We want clients (both public and private) to respect the quality that an architect can bring to a project, but how can we do that when we don’t respect ourselves? 

Now that we’re in a ‘cost of living crisis’ and material prices are rising around the world, we are told that profit margins are tighter than ever. But the architect’s fee is often a drop in the ocean compared to the rest of a project’s budget, and is it not the case that a really good quality design can actually save money (and time) if an open-minded person with experience and knowledge is leading the process from an early stage? It is also depressing to see a public sector that places such a large emphasis on fees in their tendering processes, which surely signals to architects how they are valued and how best to win work by incentivising them to Go Low or instead Go Home!

How can we alter the perception of the ‘architect’ so that people recognise design is worth investing in? How can we communicate to the architectural profession that you’re not doing yourself any favours by charging a fee drastically lower than your fellow architects? And what of the organisations and royal institutions set up to protect and promote architects, architecture and schools of architecture? Would a change to both the curriculum in education and a legislative return to the mandatory fee scale in practice, produce a future with architects having a less immature approach to business and an environment whereby the best designs and not the lowest fees become a new benchmark?

In a world where creativity has increasingly become complicit with a controlling commercialism, how should architects better protect the spirit and ideas that can be upheld by progressive building design, as well as themselves and each other as a local, regional, national and global community?

S﻿peakers:

A﻿ngharad Palmer, Landsec 
B﻿ritta Siggelkow, THINK:BUILD
E﻿leanor Jolliffe, Allies and Morrison                                                                                                               L﻿ondon Practice Forum                                                                                                                                                     

amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[How many times have we heard the phrase “race to the bottom” when it comes to architects discussing fees and design quality. With practices closing their doors and citing the undercutting of their fees as a key factor, competition seems to have defeated camaraderie and we have to ask if the profession is eating itself? We want clients (both public and private) to respect the quality that an architect can bring to a project, but how can we do that when we don’t respect ourselves? 

Now that we’re in a ‘cost of living crisis’ and material prices are rising around the world, we are told that profit margins are tighter than ever. But the architect’s fee is often a drop in the ocean compared to the rest of a project’s budget, and is it not the case that a really good quality design can actually save money (and time) if an open-minded person with experience and knowledge is leading the process from an early stage? It is also depressing to see a public sector that places such a large emphasis on fees in their tendering processes, which surely signals to architects how they are valued and how best to win work by incentivising them to Go Low or instead Go Home!

How can we alter the perception of the ‘architect’ so that people recognise design is worth investing in? How can we communicate to the architectural profession that you’re not doing yourself any favours by charging a fee drastically lower than your fellow architects? And what of the organisations and royal institutions set up to protect and promote architects, architecture and schools of architecture? Would a change to both the curriculum in education and a legislative return to the mandatory fee scale in practice, produce a future with architects having a less immature approach to business and an environment whereby the best designs and not the lowest fees become a new benchmark?

In a world where creativity has increasingly become complicit with a controlling commercialism, how should architects better protect the spirit and ideas that can be upheld by progressive building design, as well as themselves and each other as a local, regional, national and global community?

S﻿peakers:

A﻿ngharad Palmer, Landsec 
B﻿ritta Siggelkow, THINK:BUILD
E﻿leanor Jolliffe, Allies and Morrison                                                                                                               L﻿ondon Practice Forum                                                                                                                                                     

amongst others….]]>
      </content:encoded>
      <pubDate>Tue, 07 Nov 2023 16:50:15 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/80979ea0/0a806665.mp3" length="79893904" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/NiuaKoSDsTSSZwzW5U8ZilLDThwgh5c1jc6ovrAHmGQ/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS84YWVj/NjFmMTFhZjk0Mzdi/ZGRjMWExZDBkNmQ4/OTZiMC5qcGc.jpg"/>
      <itunes:duration>4994</itunes:duration>
      <itunes:summary>How many times have we heard the phrase “race to the bottom” when it comes to architects discussing fees and design quality. With practices closing their doors and citing the undercutting of their fees as a key factor, competition seems to have defeated camaraderie and we have to ask if the profession is eating itself? We want clients (both public and private) to respect the quality that an architect can bring to a project, but how can we do that when we don’t respect ourselves? 

Now that we’re in a ‘cost of living crisis’ and material prices are rising around the world, we are told that profit margins are tighter than ever. But the architect’s fee is often a drop in the ocean compared to the rest of a project’s budget, and is it not the case that a really good quality design can actually save money (and time) if an open-minded person with experience and knowledge is leading the process from an early stage? It is also depressing to see a public sector that places such a large emphasis on fees in their tendering processes, which surely signals to architects how they are valued and how best to win work by incentivising them to Go Low or instead Go Home!

How can we alter the perception of the ‘architect’ so that people recognise design is worth investing in? How can we communicate to the architectural profession that you’re not doing yourself any favours by charging a fee drastically lower than your fellow architects? And what of the organisations and royal institutions set up to protect and promote architects, architecture and schools of architecture? Would a change to both the curriculum in education and a legislative return to the mandatory fee scale in practice, produce a future with architects having a less immature approach to business and an environment whereby the best designs and not the lowest fees become a new benchmark?

In a world where creativity has increasingly become complicit with a controlling commercialism, how should architects better protect the spirit and ideas that can be upheld by progressive building design, as well as themselves and each other as a local, regional, national and global community?

S﻿peakers:

A﻿ngharad Palmer, Landsec 
B﻿ritta Siggelkow, THINK:BUILD
E﻿leanor Jolliffe, Allies and Morrison                                                                                                               L﻿ondon Practice Forum                                                                                                                                                     

amongst others….</itunes:summary>
      <itunes:subtitle>How many times have we heard the phrase “race to the bottom” when it comes to architects discussing fees and design quality. With practices closing their doors and citing the undercutting of their fees as a key factor, competition seems to have defeated c</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #S9 AI or Die: Advance or Interference?</title>
      <itunes:episode>47</itunes:episode>
      <podcast:episode>47</podcast:episode>
      <itunes:title>Negroni Talk #S9 AI or Die: Advance or Interference?</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1622645862</guid>
      <link>https://share.transistor.fm/s/3b91cd72</link>
      <description>
        <![CDATA[Negroni Talk #S9 AI or Die: Advance or Interference? by Fourthspace]]>
      </description>
      <content:encoded>
        <![CDATA[Negroni Talk #S9 AI or Die: Advance or Interference? by Fourthspace]]>
      </content:encoded>
      <pubDate>Fri, 22 Sep 2023 11:54:02 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/3b91cd72/5a933963.mp3" length="89932844" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/AvZPFSUi2Li8mDuBpSV-TXH4I-dp2OmAjjXjfbbW7V8/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS84ODM4/MjI5ZTEwNzE2NDY4/Y2U2NmJlODM0ZTky/ZGQ0OS5qcGc.jpg"/>
      <itunes:duration>5621</itunes:duration>
      <itunes:summary>Negroni Talk #S9 AI or Die: Advance or Interference? by Fourthspace</itunes:summary>
      <itunes:subtitle>Negroni Talk #S9 AI or Die: Advance or Interference? by Fourthspace</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talks #A2</title>
      <itunes:episode>46</itunes:episode>
      <podcast:episode>46</podcast:episode>
      <itunes:title>Negroni Talks #A2</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1570126525</guid>
      <link>https://share.transistor.fm/s/1e569c27</link>
      <description>
        <![CDATA[Having provoked debates interrogating all things “Architectural” from its base in east London, “Negroni talks…!” is hitting the road to discover how the Politics Of Architecture plays out in other parts of the UK. Heading North, South, East and West, The Negroni Talks On the Road Tour aims to hold ‘4 talks in 4 towns’, taking a look at what’s happening on the ground by focusing on local factors that shape the built environment, and what this means for it’s inhabitants.  

In overview, the Series presents essentially the same discussion in each of the places visited. This repetition is a means to spotlight differences, but also those areas of similarity between urban environments to make comparisons at a national scale. The fabric of each village, town and city across the land stands as a witness to the fallibility of decision-making where private agendas and the public interest collide. Recording the passage of time in material forms, every built landscape provides its own version of a common history - namely the cause and effect impact that buildings and property have as a political player. 

The talk series poses a series of questions to prompt the discussions:

Process: Building is a simple act with an abundance of complexities. What are the fundamental flaws in the current overall system by which buildings are created?  

Planning: A broken system suffering from a distinct lack of vision? Does it address need and if so whose? As a reactive body, does it have the ability, the will, or the funding to ensure that beyond the concerns of the individual, there is a grander master plan? 

Policy: Is there a lack of assertiveness, a lack of confidence, a lack of knowledge or a lack of ideas on how to carefully harness market forces for the common good?

Permission: Who decides? Are the interests &amp; the imagination of those who say yes or no, broad enough? 

Playing the game: Who sets the rules and is breaking them the only way to build what is really needed?

Procurement: Finance tends to dominate discussions about delivery and determines (and often limits) the scope of what is possible? So, what of our ambition? What could be? 

Potential: Where and how is it being wasted?

Place-making:  Can new buildings offer a necessary variety so that they serve all demographics in society and assist in creating more collective spirited communities in the future? 

Progressiveness:  How do you create processes where quality and invention are expected and not hoped for?

Performance: How do you ensure that all buildings contribute socially &amp; environmentally? 

Past Problems: The built environment offers lessons on mistakes made. It illustrates what works, what has time proven longevity and where ideas/experiments have failed. With the benefit of hindsight, are we clear in what we are doing and what we need to avoid? 

Purpose: What is the point of building? Should we ask this before we do anything?

Planet: Can ‘development opportunity’ become redefined so that new building is allied more with existing built fabric?

Power: How can heritage, identity and representation be used positively to decentralize, diversify and empower?

Politics: Despite the posturing and of our politicians and the promotion of Britain as ‘Great’, are our built environments blighted by a national malaise and if so what can be done to overcome this?]]>
      </description>
      <content:encoded>
        <![CDATA[Having provoked debates interrogating all things “Architectural” from its base in east London, “Negroni talks…!” is hitting the road to discover how the Politics Of Architecture plays out in other parts of the UK. Heading North, South, East and West, The Negroni Talks On the Road Tour aims to hold ‘4 talks in 4 towns’, taking a look at what’s happening on the ground by focusing on local factors that shape the built environment, and what this means for it’s inhabitants.  

In overview, the Series presents essentially the same discussion in each of the places visited. This repetition is a means to spotlight differences, but also those areas of similarity between urban environments to make comparisons at a national scale. The fabric of each village, town and city across the land stands as a witness to the fallibility of decision-making where private agendas and the public interest collide. Recording the passage of time in material forms, every built landscape provides its own version of a common history - namely the cause and effect impact that buildings and property have as a political player. 

The talk series poses a series of questions to prompt the discussions:

Process: Building is a simple act with an abundance of complexities. What are the fundamental flaws in the current overall system by which buildings are created?  

Planning: A broken system suffering from a distinct lack of vision? Does it address need and if so whose? As a reactive body, does it have the ability, the will, or the funding to ensure that beyond the concerns of the individual, there is a grander master plan? 

Policy: Is there a lack of assertiveness, a lack of confidence, a lack of knowledge or a lack of ideas on how to carefully harness market forces for the common good?

Permission: Who decides? Are the interests &amp; the imagination of those who say yes or no, broad enough? 

Playing the game: Who sets the rules and is breaking them the only way to build what is really needed?

Procurement: Finance tends to dominate discussions about delivery and determines (and often limits) the scope of what is possible? So, what of our ambition? What could be? 

Potential: Where and how is it being wasted?

Place-making:  Can new buildings offer a necessary variety so that they serve all demographics in society and assist in creating more collective spirited communities in the future? 

Progressiveness:  How do you create processes where quality and invention are expected and not hoped for?

Performance: How do you ensure that all buildings contribute socially &amp; environmentally? 

Past Problems: The built environment offers lessons on mistakes made. It illustrates what works, what has time proven longevity and where ideas/experiments have failed. With the benefit of hindsight, are we clear in what we are doing and what we need to avoid? 

Purpose: What is the point of building? Should we ask this before we do anything?

Planet: Can ‘development opportunity’ become redefined so that new building is allied more with existing built fabric?

Power: How can heritage, identity and representation be used positively to decentralize, diversify and empower?

Politics: Despite the posturing and of our politicians and the promotion of Britain as ‘Great’, are our built environments blighted by a national malaise and if so what can be done to overcome this?]]>
      </content:encoded>
      <pubDate>Thu, 20 Jul 2023 12:15:57 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/1e569c27/b76c94c9.mp3" length="92420746" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/9CpSfC8_SgddkUsL1QyhSiGMmg_BF3rKDeaLeH7cMOI/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9mMTBh/ZWVjMzVkMDk4Zjg1/YTg3ODg2YmYwNDFm/ZjdlNy5qcGc.jpg"/>
      <itunes:duration>3851</itunes:duration>
      <itunes:summary>Having provoked debates interrogating all things “Architectural” from its base in east London, “Negroni talks…!” is hitting the road to discover how the Politics Of Architecture plays out in other parts of the UK. Heading North, South, East and West, The Negroni Talks On the Road Tour aims to hold ‘4 talks in 4 towns’, taking a look at what’s happening on the ground by focusing on local factors that shape the built environment, and what this means for it’s inhabitants.  

In overview, the Series presents essentially the same discussion in each of the places visited. This repetition is a means to spotlight differences, but also those areas of similarity between urban environments to make comparisons at a national scale. The fabric of each village, town and city across the land stands as a witness to the fallibility of decision-making where private agendas and the public interest collide. Recording the passage of time in material forms, every built landscape provides its own version of a common history - namely the cause and effect impact that buildings and property have as a political player. 

The talk series poses a series of questions to prompt the discussions:

Process: Building is a simple act with an abundance of complexities. What are the fundamental flaws in the current overall system by which buildings are created?  

Planning: A broken system suffering from a distinct lack of vision? Does it address need and if so whose? As a reactive body, does it have the ability, the will, or the funding to ensure that beyond the concerns of the individual, there is a grander master plan? 

Policy: Is there a lack of assertiveness, a lack of confidence, a lack of knowledge or a lack of ideas on how to carefully harness market forces for the common good?

Permission: Who decides? Are the interests &amp;amp; the imagination of those who say yes or no, broad enough? 

Playing the game: Who sets the rules and is breaking them the only way to build what is really needed?

Procurement: Finance tends to dominate discussions about delivery and determines (and often limits) the scope of what is possible? So, what of our ambition? What could be? 

Potential: Where and how is it being wasted?

Place-making:  Can new buildings offer a necessary variety so that they serve all demographics in society and assist in creating more collective spirited communities in the future? 

Progressiveness:  How do you create processes where quality and invention are expected and not hoped for?

Performance: How do you ensure that all buildings contribute socially &amp;amp; environmentally? 

Past Problems: The built environment offers lessons on mistakes made. It illustrates what works, what has time proven longevity and where ideas/experiments have failed. With the benefit of hindsight, are we clear in what we are doing and what we need to avoid? 

Purpose: What is the point of building? Should we ask this before we do anything?

Planet: Can ‘development opportunity’ become redefined so that new building is allied more with existing built fabric?

Power: How can heritage, identity and representation be used positively to decentralize, diversify and empower?

Politics: Despite the posturing and of our politicians and the promotion of Britain as ‘Great’, are our built environments blighted by a national malaise and if so what can be done to overcome this?</itunes:summary>
      <itunes:subtitle>Having provoked debates interrogating all things “Architectural” from its base in east London, “Negroni talks…!” is hitting the road to discover how the Politics Of Architecture plays out in other parts of the UK. Heading North, South, East and West, The </itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #41 - Absurdity In Architecture</title>
      <itunes:episode>45</itunes:episode>
      <podcast:episode>45</podcast:episode>
      <itunes:title>Negroni Talk #41 - Absurdity In Architecture</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1561905262</guid>
      <link>https://share.transistor.fm/s/166d440d</link>
      <description>
        <![CDATA[Absurdity In Architecture

When you think about it, Architecture is quite absurd. The importance placed upon the differences between one building design and another, the dedication to detail, the careful choreography and the assertions of taste and quality, all seem to be on a different planet when one looks up at the huge global issues that confront us. The time and energy, the resources spent on the particularity of a design's development, feels somewhat self-centred, myopic and at a remove from the issues of the larger world beyond. 

So too the nobility with which the profession regards itself, the award winning credibility, the multiple skill-sets, the being seen to do the right thing all wrapped up in standard issue PR parlance. What persists is a certainty and conviction with which an architectural design is declared as being the right answer, the correct response, irrespective of how misplaced history often proves such claims to be. 

Architects belong to a list of professions, and along with lawyers and doctors it takes the longest time to qualify for, so you might think that the job is solid, respected and agenda setting. However, getting work to support any practice is basically a shot in the dark. Fees are embarrassingly low. Planning decisions are made on the political whims of elected officials. Clients commission what they want a design to be rather than enquiring what is possible/best. The contractor has come to design architecture as much as the architect. And let’s not get started on cost consultants.

With all of the increasing uncertainty, we seem to have pulled up a seat at the Mad Hatter’s tea party. We find ourselves stuck in/out of our time, knowing that we are no longer what the profession once was, but with no clear idea of how we should really be going forward. Rather than entertain the nonsense and riddles, would it not be better that we steered the conversation towards an examination of what are we all doing and why?

S﻿peakers:

Jason Sayer, Architecture Today (chair)                                                                                                                                                            Sean Griffiths, Professor of Architecture 
Cath Slessor, Twentieth Century Society
Nisha Kurian, London Borough of Tower Hamlets                                                           Dan Burr, Sheppard Robson                                                                                                                                                     

amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[Absurdity In Architecture

When you think about it, Architecture is quite absurd. The importance placed upon the differences between one building design and another, the dedication to detail, the careful choreography and the assertions of taste and quality, all seem to be on a different planet when one looks up at the huge global issues that confront us. The time and energy, the resources spent on the particularity of a design's development, feels somewhat self-centred, myopic and at a remove from the issues of the larger world beyond. 

So too the nobility with which the profession regards itself, the award winning credibility, the multiple skill-sets, the being seen to do the right thing all wrapped up in standard issue PR parlance. What persists is a certainty and conviction with which an architectural design is declared as being the right answer, the correct response, irrespective of how misplaced history often proves such claims to be. 

Architects belong to a list of professions, and along with lawyers and doctors it takes the longest time to qualify for, so you might think that the job is solid, respected and agenda setting. However, getting work to support any practice is basically a shot in the dark. Fees are embarrassingly low. Planning decisions are made on the political whims of elected officials. Clients commission what they want a design to be rather than enquiring what is possible/best. The contractor has come to design architecture as much as the architect. And let’s not get started on cost consultants.

With all of the increasing uncertainty, we seem to have pulled up a seat at the Mad Hatter’s tea party. We find ourselves stuck in/out of our time, knowing that we are no longer what the profession once was, but with no clear idea of how we should really be going forward. Rather than entertain the nonsense and riddles, would it not be better that we steered the conversation towards an examination of what are we all doing and why?

S﻿peakers:

Jason Sayer, Architecture Today (chair)                                                                                                                                                            Sean Griffiths, Professor of Architecture 
Cath Slessor, Twentieth Century Society
Nisha Kurian, London Borough of Tower Hamlets                                                           Dan Burr, Sheppard Robson                                                                                                                                                     

amongst others….]]>
      </content:encoded>
      <pubDate>Tue, 11 Jul 2023 14:34:33 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/166d440d/1cc9f4d5.mp3" length="144377871" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/FJz-zPUBRk9uUVPKO-_gsDHNXBTh3y67cLpZrsknYIU/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9kOGEy/OTEyYjM2OTc0ZTc4/NWViZDU0Y2Q3ZTdm/M2Y2YS5qcGc.jpg"/>
      <itunes:duration>9024</itunes:duration>
      <itunes:summary>Absurdity In Architecture

When you think about it, Architecture is quite absurd. The importance placed upon the differences between one building design and another, the dedication to detail, the careful choreography and the assertions of taste and quality, all seem to be on a different planet when one looks up at the huge global issues that confront us. The time and energy, the resources spent on the particularity of a design's development, feels somewhat self-centred, myopic and at a remove from the issues of the larger world beyond. 

So too the nobility with which the profession regards itself, the award winning credibility, the multiple skill-sets, the being seen to do the right thing all wrapped up in standard issue PR parlance. What persists is a certainty and conviction with which an architectural design is declared as being the right answer, the correct response, irrespective of how misplaced history often proves such claims to be. 

Architects belong to a list of professions, and along with lawyers and doctors it takes the longest time to qualify for, so you might think that the job is solid, respected and agenda setting. However, getting work to support any practice is basically a shot in the dark. Fees are embarrassingly low. Planning decisions are made on the political whims of elected officials. Clients commission what they want a design to be rather than enquiring what is possible/best. The contractor has come to design architecture as much as the architect. And let’s not get started on cost consultants.

With all of the increasing uncertainty, we seem to have pulled up a seat at the Mad Hatter’s tea party. We find ourselves stuck in/out of our time, knowing that we are no longer what the profession once was, but with no clear idea of how we should really be going forward. Rather than entertain the nonsense and riddles, would it not be better that we steered the conversation towards an examination of what are we all doing and why?

S﻿peakers:

Jason Sayer, Architecture Today (chair)                                                                                                                                                            Sean Griffiths, Professor of Architecture 
Cath Slessor, Twentieth Century Society
Nisha Kurian, London Borough of Tower Hamlets                                                           Dan Burr, Sheppard Robson                                                                                                                                                     

amongst others….</itunes:summary>
      <itunes:subtitle>Absurdity In Architecture

When you think about it, Architecture is quite absurd. The importance placed upon the differences between one building design and another, the dedication to detail, the careful choreography and the assertions of taste and qualit</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talks #40 Decency By Design</title>
      <itunes:episode>44</itunes:episode>
      <podcast:episode>44</podcast:episode>
      <itunes:title>Negroni Talks #40 Decency By Design</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1510937971</guid>
      <link>https://share.transistor.fm/s/dc198f36</link>
      <description>
        <![CDATA[Decency By Design

What does it mean to be an ethical architect? Is it about the way you run an architectural practice, the type of work you produce, the people you work for? They say that ‘the road to hell is paved with good intentions’ and whilst we’re seeing a growing trend of practices becoming B-Corps, does that mean you’re a ‘decent’ company? 

With the de-regulatory drive to relax the rules and make permitted development easier, the sheer scale of the Post Grenfell cladding crisis, along with recent headline-grabbing ‘scandals’ about the impact upon people having to live in mold and damp infested homes, we really have to think about what buildings are saying to the general public about contemporary standards and the role of the architect. When buildings start to kill people, something has gone terribly wrong with our sense of humanity. Is the architectural profession an ethically motivated defender of values, or complicit with those profiteering off our collective low standards of living? It seems that the powers that be are mostly interested in quick fixes by whatever means necessary, as envisioned by the political brainwave that empty offices and shops can be converted to help solve the national housing problem. The results could very well foster a new wave of rachman-esque modern-day slums, so what protections remain, and who are the guardians of them? 

There could be potential opportunities for sensitive and intelligent projects that could help reinvigorate cities, which might be achieved much quicker than going through the red tape of traditional approval processes. Could this be the time for architects to actively lead a movement to create innovative schemes that benefit the local community, or is it just another moment where they will remain a facilitator in the destruction of social value? 

Developers are always looking for the maximum return on their investments, but their architects should also try to promote decency within regeneration projects and help protect those most affected by changes to our built environments throughout the country. At this moment it remains unclear which way things will go, however, are there simple solutions that could fix several problematic issues in one fell swoop?

 

S﻿peakers:

Rob Fiehn (chair)                                                                                                                                                             Alasdair Ben dixon, Collective Works
S﻿anaa Shaikh, Native Studio     
Emma Osmundsen, Sixty Bricks                                                                                                                                                              J﻿erry Tate, Tate + Co

amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[Decency By Design

What does it mean to be an ethical architect? Is it about the way you run an architectural practice, the type of work you produce, the people you work for? They say that ‘the road to hell is paved with good intentions’ and whilst we’re seeing a growing trend of practices becoming B-Corps, does that mean you’re a ‘decent’ company? 

With the de-regulatory drive to relax the rules and make permitted development easier, the sheer scale of the Post Grenfell cladding crisis, along with recent headline-grabbing ‘scandals’ about the impact upon people having to live in mold and damp infested homes, we really have to think about what buildings are saying to the general public about contemporary standards and the role of the architect. When buildings start to kill people, something has gone terribly wrong with our sense of humanity. Is the architectural profession an ethically motivated defender of values, or complicit with those profiteering off our collective low standards of living? It seems that the powers that be are mostly interested in quick fixes by whatever means necessary, as envisioned by the political brainwave that empty offices and shops can be converted to help solve the national housing problem. The results could very well foster a new wave of rachman-esque modern-day slums, so what protections remain, and who are the guardians of them? 

There could be potential opportunities for sensitive and intelligent projects that could help reinvigorate cities, which might be achieved much quicker than going through the red tape of traditional approval processes. Could this be the time for architects to actively lead a movement to create innovative schemes that benefit the local community, or is it just another moment where they will remain a facilitator in the destruction of social value? 

Developers are always looking for the maximum return on their investments, but their architects should also try to promote decency within regeneration projects and help protect those most affected by changes to our built environments throughout the country. At this moment it remains unclear which way things will go, however, are there simple solutions that could fix several problematic issues in one fell swoop?

 

S﻿peakers:

Rob Fiehn (chair)                                                                                                                                                             Alasdair Ben dixon, Collective Works
S﻿anaa Shaikh, Native Studio     
Emma Osmundsen, Sixty Bricks                                                                                                                                                              J﻿erry Tate, Tate + Co

amongst others….]]>
      </content:encoded>
      <pubDate>Wed, 10 May 2023 09:27:31 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/dc198f36/47549b12.mp3" length="77659038" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/WH83hRbzf3E-LNA0vk23q4sJ8u3Vh6wXscLqaw4LwlA/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS8yNDBj/MzNlYzViNTQ4NWI4/YzQ3NDY5NzBmYWQw/MTI1Ny5qcGc.jpg"/>
      <itunes:duration>4854</itunes:duration>
      <itunes:summary>Decency By Design

What does it mean to be an ethical architect? Is it about the way you run an architectural practice, the type of work you produce, the people you work for? They say that ‘the road to hell is paved with good intentions’ and whilst we’re seeing a growing trend of practices becoming B-Corps, does that mean you’re a ‘decent’ company? 

With the de-regulatory drive to relax the rules and make permitted development easier, the sheer scale of the Post Grenfell cladding crisis, along with recent headline-grabbing ‘scandals’ about the impact upon people having to live in mold and damp infested homes, we really have to think about what buildings are saying to the general public about contemporary standards and the role of the architect. When buildings start to kill people, something has gone terribly wrong with our sense of humanity. Is the architectural profession an ethically motivated defender of values, or complicit with those profiteering off our collective low standards of living? It seems that the powers that be are mostly interested in quick fixes by whatever means necessary, as envisioned by the political brainwave that empty offices and shops can be converted to help solve the national housing problem. The results could very well foster a new wave of rachman-esque modern-day slums, so what protections remain, and who are the guardians of them? 

There could be potential opportunities for sensitive and intelligent projects that could help reinvigorate cities, which might be achieved much quicker than going through the red tape of traditional approval processes. Could this be the time for architects to actively lead a movement to create innovative schemes that benefit the local community, or is it just another moment where they will remain a facilitator in the destruction of social value? 

Developers are always looking for the maximum return on their investments, but their architects should also try to promote decency within regeneration projects and help protect those most affected by changes to our built environments throughout the country. At this moment it remains unclear which way things will go, however, are there simple solutions that could fix several problematic issues in one fell swoop?

 

S﻿peakers:

Rob Fiehn (chair)                                                                                                                                                             Alasdair Ben dixon, Collective Works
S﻿anaa Shaikh, Native Studio     
Emma Osmundsen, Sixty Bricks                                                                                                                                                              J﻿erry Tate, Tate + Co

amongst others….</itunes:summary>
      <itunes:subtitle>Decency By Design

What does it mean to be an ethical architect? Is it about the way you run an architectural practice, the type of work you produce, the people you work for? They say that ‘the road to hell is paved with good intentions’ and whilst we’re </itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #S7 - FROM HERO TO (NET)ZERO: Carbon Footprints</title>
      <itunes:episode>43</itunes:episode>
      <podcast:episode>43</podcast:episode>
      <itunes:title>Negroni Talk #S7 - FROM HERO TO (NET)ZERO: Carbon Footprints</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1485600163</guid>
      <link>https://share.transistor.fm/s/8684ec97</link>
      <description>
        <![CDATA[Negroni Talk #S7 - FROM HERO TO (NET)ZERO: Carbon Footprints

We are in a climate emergency and the built environment contributes 30-40% of the world’s carbon emissions. We have to do something about this and seemingly some governments across the world have belatedly recognised the collective need for us to head towards a net-zero future. Ok, so there’s a plan and we all know what we’re doing, right, but can someone explain clearly what net-zero actually means?  Also does the whole tree planting/off-setting thing really work? It’s just that recently there have been a series of news articles exposing suspicions that it’s all bullshit…. 

As always action will speak louder than words in a world still wedded to processes/materials with high levels of embodied carbon and standard issue PR about ‘being sustainable'. We’re playing a dangerous game with the environment with the 'reality-check’ of carbon neutrality being the only player. How can we make sustainable strategies effective and what happens when political policies change the rules while we’re playing? What can we do to make sure that there is a long-term strategy for the planet, whilst making places for us to live and raise our kids? 

S﻿peakers:

George Morgan (chair)                                                                                                                                                             Matt Bell, Heatherwick Studio
Tara Gbolade, Gbolade Design Studio      
Jonathan Fashanu, Studio Dash                                                                                                               Mitakshi Sirsi, Broadway Malyan

amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[Negroni Talk #S7 - FROM HERO TO (NET)ZERO: Carbon Footprints

We are in a climate emergency and the built environment contributes 30-40% of the world’s carbon emissions. We have to do something about this and seemingly some governments across the world have belatedly recognised the collective need for us to head towards a net-zero future. Ok, so there’s a plan and we all know what we’re doing, right, but can someone explain clearly what net-zero actually means?  Also does the whole tree planting/off-setting thing really work? It’s just that recently there have been a series of news articles exposing suspicions that it’s all bullshit…. 

As always action will speak louder than words in a world still wedded to processes/materials with high levels of embodied carbon and standard issue PR about ‘being sustainable'. We’re playing a dangerous game with the environment with the 'reality-check’ of carbon neutrality being the only player. How can we make sustainable strategies effective and what happens when political policies change the rules while we’re playing? What can we do to make sure that there is a long-term strategy for the planet, whilst making places for us to live and raise our kids? 

S﻿peakers:

George Morgan (chair)                                                                                                                                                             Matt Bell, Heatherwick Studio
Tara Gbolade, Gbolade Design Studio      
Jonathan Fashanu, Studio Dash                                                                                                               Mitakshi Sirsi, Broadway Malyan

amongst others….]]>
      </content:encoded>
      <pubDate>Wed, 05 Apr 2023 11:33:38 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/8684ec97/501470b6.mp3" length="59324865" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/ORfGyCTa0rTUQ35NnamvNRQgylU2tWWKvhU_ydqNl0E/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS84N2Vh/MGJkYzQzYzYzODRk/YjQ1MmY4OTc2N2U5/MGJlYy5qcGc.jpg"/>
      <itunes:duration>3708</itunes:duration>
      <itunes:summary>Negroni Talk #S7 - FROM HERO TO (NET)ZERO: Carbon Footprints

We are in a climate emergency and the built environment contributes 30-40% of the world’s carbon emissions. We have to do something about this and seemingly some governments across the world have belatedly recognised the collective need for us to head towards a net-zero future. Ok, so there’s a plan and we all know what we’re doing, right, but can someone explain clearly what net-zero actually means?  Also does the whole tree planting/off-setting thing really work? It’s just that recently there have been a series of news articles exposing suspicions that it’s all bullshit…. 

As always action will speak louder than words in a world still wedded to processes/materials with high levels of embodied carbon and standard issue PR about ‘being sustainable'. We’re playing a dangerous game with the environment with the 'reality-check’ of carbon neutrality being the only player. How can we make sustainable strategies effective and what happens when political policies change the rules while we’re playing? What can we do to make sure that there is a long-term strategy for the planet, whilst making places for us to live and raise our kids? 

S﻿peakers:

George Morgan (chair)                                                                                                                                                             Matt Bell, Heatherwick Studio
Tara Gbolade, Gbolade Design Studio      
Jonathan Fashanu, Studio Dash                                                                                                               Mitakshi Sirsi, Broadway Malyan

amongst others….</itunes:summary>
      <itunes:subtitle>Negroni Talk #S7 - FROM HERO TO (NET)ZERO: Carbon Footprints

We are in a climate emergency and the built environment contributes 30-40% of the world’s carbon emissions. We have to do something about this and seemingly some governments across the world ha</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #39 - Talking Shit! DRAIN AGE</title>
      <itunes:episode>42</itunes:episode>
      <podcast:episode>42</podcast:episode>
      <itunes:title>Negroni Talk #39 - Talking Shit! DRAIN AGE</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1459636000</guid>
      <link>https://share.transistor.fm/s/d5e14b07</link>
      <description>
        <![CDATA[Talking Shit! DRAIN AGE

Stone Age... Iron Age... we are now living through the Drain Age...

Regular news reports of flash flooding showing homes filled with filthy water suggest that our treatment of water maybe based upon suspect principles. The mounting evidence is that our ‘interventions’ within the natural world are more and more frequently coming back to bite us in our cities, towns and villages. Is architecture a key factor in our divorce from reality? 

We put bleach in water, and we drink the water. Man-made fat-bergs cause sewers to back up and the pressures put on pipes appears to coincide with the shameless profiteering that comes with pumping raw sewage into our wildlife, watercourses and seas.

We should ask ourselves what and where we are building. Flood plains made rigid by acres of tarmac and paved hard landscape leave water with nowhere to run except funneled down into hidden tubes that lead ‘somewhere else’.

What is out of sight, remains out of mind.

We also have to look inside and question the impact within buildings. Architects and designers seem stuck in a tug or war between consultants, subcontractors, and the estate agents doctrine of the ensuite 2nd bathroom, where the volumetric space in which people are to live comes in second. Rooms seem required to work around the unmovable obstacles of the service pipe and its associated boxing out. 

Water, so vital to life itself, is in its cyclical nature the most recyclable of resources, so what of its use and its waste? For millennia, humankind lived more humbly amidst nature. Buildings tend to create comfort and convenience by ‘protecting’ us from the elements, but in the landscape of the future can they play a greater role and a more holistic approach to health and sustainability?

S﻿peakers:

D﻿ave Hill, OnLondon (chair)                                                                                                                                                             D﻿r Julia King, London School of Economics
A﻿ndy Downey, Elliot Wood      
K﻿atharina Erne, HTA Design
M﻿ichael Judd, Hawkins\Brown

amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[Talking Shit! DRAIN AGE

Stone Age... Iron Age... we are now living through the Drain Age...

Regular news reports of flash flooding showing homes filled with filthy water suggest that our treatment of water maybe based upon suspect principles. The mounting evidence is that our ‘interventions’ within the natural world are more and more frequently coming back to bite us in our cities, towns and villages. Is architecture a key factor in our divorce from reality? 

We put bleach in water, and we drink the water. Man-made fat-bergs cause sewers to back up and the pressures put on pipes appears to coincide with the shameless profiteering that comes with pumping raw sewage into our wildlife, watercourses and seas.

We should ask ourselves what and where we are building. Flood plains made rigid by acres of tarmac and paved hard landscape leave water with nowhere to run except funneled down into hidden tubes that lead ‘somewhere else’.

What is out of sight, remains out of mind.

We also have to look inside and question the impact within buildings. Architects and designers seem stuck in a tug or war between consultants, subcontractors, and the estate agents doctrine of the ensuite 2nd bathroom, where the volumetric space in which people are to live comes in second. Rooms seem required to work around the unmovable obstacles of the service pipe and its associated boxing out. 

Water, so vital to life itself, is in its cyclical nature the most recyclable of resources, so what of its use and its waste? For millennia, humankind lived more humbly amidst nature. Buildings tend to create comfort and convenience by ‘protecting’ us from the elements, but in the landscape of the future can they play a greater role and a more holistic approach to health and sustainability?

S﻿peakers:

D﻿ave Hill, OnLondon (chair)                                                                                                                                                             D﻿r Julia King, London School of Economics
A﻿ndy Downey, Elliot Wood      
K﻿atharina Erne, HTA Design
M﻿ichael Judd, Hawkins\Brown

amongst others….]]>
      </content:encoded>
      <pubDate>Thu, 02 Mar 2023 12:28:48 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/d5e14b07/03d2f887.mp3" length="71455603" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/pAosfXDCJWoESfmBISF9Yt2jKV3a2W1sHlNw3iSJhRw/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS8xNjhk/YWVjMzg2ZGE0OTUw/MzU1ZWIxZjhkODU5/MjVkNS5qcGc.jpg"/>
      <itunes:duration>4466</itunes:duration>
      <itunes:summary>Talking Shit! DRAIN AGE

Stone Age... Iron Age... we are now living through the Drain Age...

Regular news reports of flash flooding showing homes filled with filthy water suggest that our treatment of water maybe based upon suspect principles. The mounting evidence is that our ‘interventions’ within the natural world are more and more frequently coming back to bite us in our cities, towns and villages. Is architecture a key factor in our divorce from reality? 

We put bleach in water, and we drink the water. Man-made fat-bergs cause sewers to back up and the pressures put on pipes appears to coincide with the shameless profiteering that comes with pumping raw sewage into our wildlife, watercourses and seas.

We should ask ourselves what and where we are building. Flood plains made rigid by acres of tarmac and paved hard landscape leave water with nowhere to run except funneled down into hidden tubes that lead ‘somewhere else’.

What is out of sight, remains out of mind.

We also have to look inside and question the impact within buildings. Architects and designers seem stuck in a tug or war between consultants, subcontractors, and the estate agents doctrine of the ensuite 2nd bathroom, where the volumetric space in which people are to live comes in second. Rooms seem required to work around the unmovable obstacles of the service pipe and its associated boxing out. 

Water, so vital to life itself, is in its cyclical nature the most recyclable of resources, so what of its use and its waste? For millennia, humankind lived more humbly amidst nature. Buildings tend to create comfort and convenience by ‘protecting’ us from the elements, but in the landscape of the future can they play a greater role and a more holistic approach to health and sustainability?

S﻿peakers:

D﻿ave Hill, OnLondon (chair)                                                                                                                                                             D﻿r Julia King, London School of Economics
A﻿ndy Downey, Elliot Wood      
K﻿atharina Erne, HTA Design
M﻿ichael Judd, Hawkins\Brown

amongst others….</itunes:summary>
      <itunes:subtitle>Talking Shit! DRAIN AGE

Stone Age... Iron Age... we are now living through the Drain Age...

Regular news reports of flash flooding showing homes filled with filthy water suggest that our treatment of water maybe based upon suspect principles. The mounti</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talks N°12 ‘Affordable’ : The Problem With Affordable Housing</title>
      <itunes:episode>41</itunes:episode>
      <podcast:episode>41</podcast:episode>
      <itunes:title>Negroni Talks N°12 ‘Affordable’ : The Problem With Affordable Housing</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1457068279</guid>
      <link>https://share.transistor.fm/s/f49ca751</link>
      <description>
        <![CDATA[‘Affordable’ : The Problem With Affordable Housing

In the age of austerity 'affordable housing' is heralded as a basic requirement for new build housing schemes, with any project that doesn't deliver at least a small quota being crucified in the press. But when the term affordable is defined as 80% of market value, and an average house costs £484,716 in London, who can even afford the affordable?

The failings of local councils to provide housing for all Londoners has led to this almost meaningless terminology being thrown only around by developers and estate agents to sell already profitable schemes. With the term 'genuine affordable' hot on its heels and growing as a response, do architects have any power to broker housing that is actually affordable with developers and councils, or is up to the market to decide what is affordable, genuine or no?

Speakers:

Lara Kinneir, New London Architecture (Chair)
Tarek Merlin, Feix&amp;Merlin 
Calum Green, London Community Land Trust
Claire Bennie, Municipal
Patrik Schumacher, Zaha Hadid Architects]]>
      </description>
      <content:encoded>
        <![CDATA[‘Affordable’ : The Problem With Affordable Housing

In the age of austerity 'affordable housing' is heralded as a basic requirement for new build housing schemes, with any project that doesn't deliver at least a small quota being crucified in the press. But when the term affordable is defined as 80% of market value, and an average house costs £484,716 in London, who can even afford the affordable?

The failings of local councils to provide housing for all Londoners has led to this almost meaningless terminology being thrown only around by developers and estate agents to sell already profitable schemes. With the term 'genuine affordable' hot on its heels and growing as a response, do architects have any power to broker housing that is actually affordable with developers and councils, or is up to the market to decide what is affordable, genuine or no?

Speakers:

Lara Kinneir, New London Architecture (Chair)
Tarek Merlin, Feix&amp;Merlin 
Calum Green, London Community Land Trust
Claire Bennie, Municipal
Patrik Schumacher, Zaha Hadid Architects]]>
      </content:encoded>
      <pubDate>Mon, 27 Feb 2023 14:59:49 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/f49ca751/e5f9c4ff.mp3" length="96039963" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/y6Fpx_H7scrXK1ElMgn16_hSQ31NLxbOxkRc8D47M_A/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9kMTY0/OWRkZTRjYzQ0ZTI1/MWNjNjE5ZmY2NTU3/ZTY0Ny5qcGc.jpg"/>
      <itunes:duration>6003</itunes:duration>
      <itunes:summary>‘Affordable’ : The Problem With Affordable Housing

In the age of austerity 'affordable housing' is heralded as a basic requirement for new build housing schemes, with any project that doesn't deliver at least a small quota being crucified in the press. But when the term affordable is defined as 80% of market value, and an average house costs £484,716 in London, who can even afford the affordable?

The failings of local councils to provide housing for all Londoners has led to this almost meaningless terminology being thrown only around by developers and estate agents to sell already profitable schemes. With the term 'genuine affordable' hot on its heels and growing as a response, do architects have any power to broker housing that is actually affordable with developers and councils, or is up to the market to decide what is affordable, genuine or no?

Speakers:

Lara Kinneir, New London Architecture (Chair)
Tarek Merlin, Feix&amp;amp;Merlin 
Calum Green, London Community Land Trust
Claire Bennie, Municipal
Patrik Schumacher, Zaha Hadid Architects</itunes:summary>
      <itunes:subtitle>‘Affordable’ : The Problem With Affordable Housing

In the age of austerity 'affordable housing' is heralded as a basic requirement for new build housing schemes, with any project that doesn't deliver at least a small quota being crucified in the press. B</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talks N°11 Mind The Gap: The Chasm Between Practice And Education</title>
      <itunes:episode>40</itunes:episode>
      <podcast:episode>40</podcast:episode>
      <itunes:title>Negroni Talks N°11 Mind The Gap: The Chasm Between Practice And Education</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1457055418</guid>
      <link>https://share.transistor.fm/s/5e1d78c7</link>
      <description>
        <![CDATA[Mind The Gap: The Chasm Between Practice And Education

After years spent designing wondrous master-plans for fictional cities, debating the rights and wrongs of the Frankfurt School and churning out thousands of words on the subject - architects leave university to find themselves working on technical details for perfunctory spaces in massive practices.

Surely given the length of time needed and the tens of thousands of pounds spent in the process, Universities could better prepare students for the realities of the professional world?

With all the differing schools of architecture in London and no  shortage of tutors who are architects themselves, why is there this gap between study and practice and what is the best route into the profession? Or is the value and responsibility of an education more than just setting students up for a lifetime of practice?

Speakers:

Laura Mark, Walmer Yard (Chair) 
Eva Franch i Gilabert, Architectural Association
Jeremy Till, Central Saint Martins
Harriet Harriss, RCA
John McElgunn, Rogers Stirk Harbour + Partners: RSHP]]>
      </description>
      <content:encoded>
        <![CDATA[Mind The Gap: The Chasm Between Practice And Education

After years spent designing wondrous master-plans for fictional cities, debating the rights and wrongs of the Frankfurt School and churning out thousands of words on the subject - architects leave university to find themselves working on technical details for perfunctory spaces in massive practices.

Surely given the length of time needed and the tens of thousands of pounds spent in the process, Universities could better prepare students for the realities of the professional world?

With all the differing schools of architecture in London and no  shortage of tutors who are architects themselves, why is there this gap between study and practice and what is the best route into the profession? Or is the value and responsibility of an education more than just setting students up for a lifetime of practice?

Speakers:

Laura Mark, Walmer Yard (Chair) 
Eva Franch i Gilabert, Architectural Association
Jeremy Till, Central Saint Martins
Harriet Harriss, RCA
John McElgunn, Rogers Stirk Harbour + Partners: RSHP]]>
      </content:encoded>
      <pubDate>Mon, 27 Feb 2023 14:38:17 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/5e1d78c7/b53ffb74.mp3" length="64512883" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/RH4YtLScN2s4rMUM64AmlFuumpjuk6woqMCaLovN4cU/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9kMzU5/NmI4MTQ3MzI5N2Ex/YzY4MjAyZGM1MDM3/Y2JmYi5qcGc.jpg"/>
      <itunes:duration>4032</itunes:duration>
      <itunes:summary>Mind The Gap: The Chasm Between Practice And Education

After years spent designing wondrous master-plans for fictional cities, debating the rights and wrongs of the Frankfurt School and churning out thousands of words on the subject - architects leave university to find themselves working on technical details for perfunctory spaces in massive practices.

Surely given the length of time needed and the tens of thousands of pounds spent in the process, Universities could better prepare students for the realities of the professional world?

With all the differing schools of architecture in London and no  shortage of tutors who are architects themselves, why is there this gap between study and practice and what is the best route into the profession? Or is the value and responsibility of an education more than just setting students up for a lifetime of practice?

Speakers:

Laura Mark, Walmer Yard (Chair) 
Eva Franch i Gilabert, Architectural Association
Jeremy Till, Central Saint Martins
Harriet Harriss, RCA
John McElgunn, Rogers Stirk Harbour + Partners: RSHP</itunes:summary>
      <itunes:subtitle>Mind The Gap: The Chasm Between Practice And Education

After years spent designing wondrous master-plans for fictional cities, debating the rights and wrongs of the Frankfurt School and churning out thousands of words on the subject - architects leave un</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talks N°10 Londons Borderlands: Territorial Pissings?</title>
      <itunes:episode>39</itunes:episode>
      <podcast:episode>39</podcast:episode>
      <itunes:title>Negroni Talks N°10 Londons Borderlands: Territorial Pissings?</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1457045341</guid>
      <link>https://share.transistor.fm/s/383f3dcf</link>
      <description>
        <![CDATA[Londons Borderlands: Territorial Pissings?

(Borderlands: Boundaries Within The City State)

London is a wonderful metropolis but those that live and work in  the city know that it is really the congregation of many different  fiefdoms. Each place abides by its own rules and cherishes its own  identity. There is no such things as a Londoner; people identify with  their local community, as well as the physical context and history of  their surroundings.

This brand of fierce localism has a knock-on effect for  architecture and planning but what happens to the places that fall  between the gaps? Boroughs care less about the impact of something they  build on their neighbour. Also, borders provide uncertainty about  responsibility for particular areas and the populations that live there.  Boundaries can therefore give rise to neglected landscapes but they  also provide huge opportunities for innovation and experimentation. The  Boundary Estate changed social housing for generations, can we use  hidden hinterlands to create a better city? 

Speakers:

Martyn Evans, U+I (Chair)
Sarah Featherstone, Featherstone Young
Selina Mason, Lendlease
Pooja Agrawal, Public Practice
Mark Brearley, The Cass Cities]]>
      </description>
      <content:encoded>
        <![CDATA[Londons Borderlands: Territorial Pissings?

(Borderlands: Boundaries Within The City State)

London is a wonderful metropolis but those that live and work in  the city know that it is really the congregation of many different  fiefdoms. Each place abides by its own rules and cherishes its own  identity. There is no such things as a Londoner; people identify with  their local community, as well as the physical context and history of  their surroundings.

This brand of fierce localism has a knock-on effect for  architecture and planning but what happens to the places that fall  between the gaps? Boroughs care less about the impact of something they  build on their neighbour. Also, borders provide uncertainty about  responsibility for particular areas and the populations that live there.  Boundaries can therefore give rise to neglected landscapes but they  also provide huge opportunities for innovation and experimentation. The  Boundary Estate changed social housing for generations, can we use  hidden hinterlands to create a better city? 

Speakers:

Martyn Evans, U+I (Chair)
Sarah Featherstone, Featherstone Young
Selina Mason, Lendlease
Pooja Agrawal, Public Practice
Mark Brearley, The Cass Cities]]>
      </content:encoded>
      <pubDate>Mon, 27 Feb 2023 14:20:29 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/383f3dcf/b73ee3c9.mp3" length="46268964" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/O2B0Kk99dP_M2SzWQ3C3b4k3HV1OZRDW86XtYooTRFc/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS8xYjQ5/ZWE4ZWYwMDNjN2Y1/N2FkZWY3ZjFmNDY0/ZWE3OC5qcGc.jpg"/>
      <itunes:duration>2892</itunes:duration>
      <itunes:summary>Londons Borderlands: Territorial Pissings?

(Borderlands: Boundaries Within The City State)

London is a wonderful metropolis but those that live and work in  the city know that it is really the congregation of many different  fiefdoms. Each place abides by its own rules and cherishes its own  identity. There is no such things as a Londoner; people identify with  their local community, as well as the physical context and history of  their surroundings.

This brand of fierce localism has a knock-on effect for  architecture and planning but what happens to the places that fall  between the gaps? Boroughs care less about the impact of something they  build on their neighbour. Also, borders provide uncertainty about  responsibility for particular areas and the populations that live there.  Boundaries can therefore give rise to neglected landscapes but they  also provide huge opportunities for innovation and experimentation. The  Boundary Estate changed social housing for generations, can we use  hidden hinterlands to create a better city? 

Speakers:

Martyn Evans, U+I (Chair)
Sarah Featherstone, Featherstone Young
Selina Mason, Lendlease
Pooja Agrawal, Public Practice
Mark Brearley, The Cass Cities</itunes:summary>
      <itunes:subtitle>Londons Borderlands: Territorial Pissings?

(Borderlands: Boundaries Within The City State)

London is a wonderful metropolis but those that live and work in  the city know that it is really the congregation of many different  fiefdoms. Each place abides </itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talks N°9 I’m So Bored With The RIBA: Irrelevance Institutionalised?</title>
      <itunes:episode>38</itunes:episode>
      <podcast:episode>38</podcast:episode>
      <itunes:title>Negroni Talks N°9 I’m So Bored With The RIBA: Irrelevance Institutionalised?</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1457041114</guid>
      <link>https://share.transistor.fm/s/f60e2452</link>
      <description>
        <![CDATA[I’m So Bored With The RIBA: Irrelevance Institutionalised?

Everyone loves taking a swipe at the RIBA. Either it's out of date, too bureaucratic, too ineffective, too expensive, too London centric and lacking diversity or all of the above. Yet with 44,000 members, the RIBA falls into the same difficulty as other British institutions such as the BBC and NHS and being so large that it's an impossible task to keep everyone happy.

The RIBA is still extremely prolific and internationally respected with it's Code of Conduct being seen as a gold standard for architects and a busy yearly programme of awards, competitions, lectures, workshops, exhibitions and community outreach and engagement. At it's heart it's an opt-in members organisation so if it's not for you there's no reason to join. But as a touchstone of British architecture surely it should be listening to valid criticisms from members and those outside?

So what do people actually want from RIBA? What changes would be best? Who is it trying to please and what other organisations are doing it better?

Speakers:

Helen Parton, Journalist (Chair)
Elsie Owusu OBE, RIBA Council National
Russell Curtis, RCka
Zoe Berman, Studio Berman/ Part W Collective
Stephanie Edwards, Urban Symbiotics/ RIBA Londo]]>
      </description>
      <content:encoded>
        <![CDATA[I’m So Bored With The RIBA: Irrelevance Institutionalised?

Everyone loves taking a swipe at the RIBA. Either it's out of date, too bureaucratic, too ineffective, too expensive, too London centric and lacking diversity or all of the above. Yet with 44,000 members, the RIBA falls into the same difficulty as other British institutions such as the BBC and NHS and being so large that it's an impossible task to keep everyone happy.

The RIBA is still extremely prolific and internationally respected with it's Code of Conduct being seen as a gold standard for architects and a busy yearly programme of awards, competitions, lectures, workshops, exhibitions and community outreach and engagement. At it's heart it's an opt-in members organisation so if it's not for you there's no reason to join. But as a touchstone of British architecture surely it should be listening to valid criticisms from members and those outside?

So what do people actually want from RIBA? What changes would be best? Who is it trying to please and what other organisations are doing it better?

Speakers:

Helen Parton, Journalist (Chair)
Elsie Owusu OBE, RIBA Council National
Russell Curtis, RCka
Zoe Berman, Studio Berman/ Part W Collective
Stephanie Edwards, Urban Symbiotics/ RIBA Londo]]>
      </content:encoded>
      <pubDate>Mon, 27 Feb 2023 14:16:56 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/f60e2452/983d6e21.mp3" length="64206519" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/ZRvrvqwDJm7umYsv9RwHcnWSZvdm9OMZdHBCNwB4YEE/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9mZTAw/ODJiMGNkNmQzYmZk/ZWJlY2Y2YTU2YzEz/MjY2NS5qcGc.jpg"/>
      <itunes:duration>4013</itunes:duration>
      <itunes:summary>I’m So Bored With The RIBA: Irrelevance Institutionalised?

Everyone loves taking a swipe at the RIBA. Either it's out of date, too bureaucratic, too ineffective, too expensive, too London centric and lacking diversity or all of the above. Yet with 44,000 members, the RIBA falls into the same difficulty as other British institutions such as the BBC and NHS and being so large that it's an impossible task to keep everyone happy.

The RIBA is still extremely prolific and internationally respected with it's Code of Conduct being seen as a gold standard for architects and a busy yearly programme of awards, competitions, lectures, workshops, exhibitions and community outreach and engagement. At it's heart it's an opt-in members organisation so if it's not for you there's no reason to join. But as a touchstone of British architecture surely it should be listening to valid criticisms from members and those outside?

So what do people actually want from RIBA? What changes would be best? Who is it trying to please and what other organisations are doing it better?

Speakers:

Helen Parton, Journalist (Chair)
Elsie Owusu OBE, RIBA Council National
Russell Curtis, RCka
Zoe Berman, Studio Berman/ Part W Collective
Stephanie Edwards, Urban Symbiotics/ RIBA Londo</itunes:summary>
      <itunes:subtitle>I’m So Bored With The RIBA: Irrelevance Institutionalised?

Everyone loves taking a swipe at the RIBA. Either it's out of date, too bureaucratic, too ineffective, too expensive, too London centric and lacking diversity or all of the above. Yet with 44,000</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #8 Fail Safe, Safe Fail, Fail Better!</title>
      <itunes:episode>37</itunes:episode>
      <podcast:episode>37</podcast:episode>
      <itunes:title>Negroni Talk #8 Fail Safe, Safe Fail, Fail Better!</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1457026606</guid>
      <link>https://share.transistor.fm/s/4f21030e</link>
      <description>
        <![CDATA[Fail Safe, Safe Fail, Fail Better!

In engineering and design, a fail-safe is a system that mitigates  further harm or failure. Mistakes, bad decisions and a lack of skill can  cause great harm to projects at any point in the process and architects  often have to step in with their fail-safes. This can involve taking  the blame, sorting the problem or even reversing the fail into something  positive.
 
Though there are many ways to define the success of a  building (PR spin, fees, satisfied clients/users) failure persists and  practices continue as architecture and design always comes second to  financial or political constraints. Counter to this, there are  spectacular and popular pieces of architecture full of failure that are  meekly accepted by the user. In this context, is failing safely working  for architecture?
 
Failure is a part of everyday as designers of  the built environment, so should there be a new discourse on our  achievements, frustrated projects and failed masterpiece? Should we be  more open about them? Can we learn from failure? Or do we continue, in  our fear of being classed as ‘bad architects’, to default into a future  of safe fails?

Speakers:

Tim Abrahams, journalist (Chair)
Carl Turner, Carl Turner Architects
Jane Wernick, engineersHRW 
Valentina Miceli, WilkinsonEyre
Nile Bridgeman, Afterparti]]>
      </description>
      <content:encoded>
        <![CDATA[Fail Safe, Safe Fail, Fail Better!

In engineering and design, a fail-safe is a system that mitigates  further harm or failure. Mistakes, bad decisions and a lack of skill can  cause great harm to projects at any point in the process and architects  often have to step in with their fail-safes. This can involve taking  the blame, sorting the problem or even reversing the fail into something  positive.
 
Though there are many ways to define the success of a  building (PR spin, fees, satisfied clients/users) failure persists and  practices continue as architecture and design always comes second to  financial or political constraints. Counter to this, there are  spectacular and popular pieces of architecture full of failure that are  meekly accepted by the user. In this context, is failing safely working  for architecture?
 
Failure is a part of everyday as designers of  the built environment, so should there be a new discourse on our  achievements, frustrated projects and failed masterpiece? Should we be  more open about them? Can we learn from failure? Or do we continue, in  our fear of being classed as ‘bad architects’, to default into a future  of safe fails?

Speakers:

Tim Abrahams, journalist (Chair)
Carl Turner, Carl Turner Architects
Jane Wernick, engineersHRW 
Valentina Miceli, WilkinsonEyre
Nile Bridgeman, Afterparti]]>
      </content:encoded>
      <pubDate>Mon, 27 Feb 2023 13:53:50 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/4f21030e/28ce7605.mp3" length="76813004" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/vxPUqsX3inUKrUeaZOW_sm3mh1_de6rm1u2QWqJIATs/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS83YjJm/ODJhZmFkNDM2MGEz/YTA5Y2Y0MmEzZWM4/ODRmYS5qcGc.jpg"/>
      <itunes:duration>4801</itunes:duration>
      <itunes:summary>Fail Safe, Safe Fail, Fail Better!

In engineering and design, a fail-safe is a system that mitigates  further harm or failure. Mistakes, bad decisions and a lack of skill can  cause great harm to projects at any point in the process and architects  often have to step in with their fail-safes. This can involve taking  the blame, sorting the problem or even reversing the fail into something  positive.
 
Though there are many ways to define the success of a  building (PR spin, fees, satisfied clients/users) failure persists and  practices continue as architecture and design always comes second to  financial or political constraints. Counter to this, there are  spectacular and popular pieces of architecture full of failure that are  meekly accepted by the user. In this context, is failing safely working  for architecture?
 
Failure is a part of everyday as designers of  the built environment, so should there be a new discourse on our  achievements, frustrated projects and failed masterpiece? Should we be  more open about them? Can we learn from failure? Or do we continue, in  our fear of being classed as ‘bad architects’, to default into a future  of safe fails?

Speakers:

Tim Abrahams, journalist (Chair)
Carl Turner, Carl Turner Architects
Jane Wernick, engineersHRW 
Valentina Miceli, WilkinsonEyre
Nile Bridgeman, Afterparti</itunes:summary>
      <itunes:subtitle>Fail Safe, Safe Fail, Fail Better!

In engineering and design, a fail-safe is a system that mitigates  further harm or failure. Mistakes, bad decisions and a lack of skill can  cause great harm to projects at any point in the process and architects  often</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #7 Thick As A Brick: Dis Honesty And Architecture…</title>
      <itunes:episode>36</itunes:episode>
      <podcast:episode>36</podcast:episode>
      <itunes:title>Negroni Talk #7 Thick As A Brick: Dis Honesty And Architecture…</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1454154733</guid>
      <link>https://share.transistor.fm/s/c1f66db3</link>
      <description>
        <![CDATA[Thick As A Brick: Dis Honesty And Architecture…

Over years of architectural and building history, the approach to design has frequently been supported by claims of being honest to material, form and context. This becomes a polemic when encompassed into architectural styles and genres: Hi-Tech wears its heart on its sleeve; Modernism, from the roots of classicism, follows function to a degree; and Post Modernism masks and plays games with little care as to whether there is honesty or dishonesty in the styling of buildings.
 
Marked by increasing amounts of financial and political constraints in the UK, progress in  new architectural style and form has become limited. Architects continue to tell us how important they are and fight to illustrate how ethical, or how honest they are to their projects. Is there any truth in the claim that the fashion for a rational pared down aesthetic is any more authentic than the decorative motifs of the past? Architects join forces with developers to PR spin their designs, but surely commercial viability is more straightforward than a fetish for ideology over purpose. Is there possibility in this current age of ‘Fake News’, for  architects to proudly embrace a dishonest design approach and cheat the constraints of the system? How thick is your brick?

Speakers:

Will Hurst, Architects’ Journal (Chair)
Amin Taha, Groupwork
Jo Cowen, Jo Cowen Architects 
Simon Allford, Allford Hall Monaghan Morris
Sean Griffiths, Prof. of Architecture, freelance artist &amp; architect]]>
      </description>
      <content:encoded>
        <![CDATA[Thick As A Brick: Dis Honesty And Architecture…

Over years of architectural and building history, the approach to design has frequently been supported by claims of being honest to material, form and context. This becomes a polemic when encompassed into architectural styles and genres: Hi-Tech wears its heart on its sleeve; Modernism, from the roots of classicism, follows function to a degree; and Post Modernism masks and plays games with little care as to whether there is honesty or dishonesty in the styling of buildings.
 
Marked by increasing amounts of financial and political constraints in the UK, progress in  new architectural style and form has become limited. Architects continue to tell us how important they are and fight to illustrate how ethical, or how honest they are to their projects. Is there any truth in the claim that the fashion for a rational pared down aesthetic is any more authentic than the decorative motifs of the past? Architects join forces with developers to PR spin their designs, but surely commercial viability is more straightforward than a fetish for ideology over purpose. Is there possibility in this current age of ‘Fake News’, for  architects to proudly embrace a dishonest design approach and cheat the constraints of the system? How thick is your brick?

Speakers:

Will Hurst, Architects’ Journal (Chair)
Amin Taha, Groupwork
Jo Cowen, Jo Cowen Architects 
Simon Allford, Allford Hall Monaghan Morris
Sean Griffiths, Prof. of Architecture, freelance artist &amp; architect]]>
      </content:encoded>
      <pubDate>Thu, 23 Feb 2023 17:24:29 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/c1f66db3/aae62d36.mp3" length="85484404" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/hAcRftKdXnSrB-xJUPtV5-Dfm6D81TPnANmfQX9Jl3U/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS8wMGQ0/OThkODA4MjYzZjg4/MGMyZTMwMWE2Mzc2/YWQ4OC5qcGc.jpg"/>
      <itunes:duration>5343</itunes:duration>
      <itunes:summary>Thick As A Brick: Dis Honesty And Architecture…

Over years of architectural and building history, the approach to design has frequently been supported by claims of being honest to material, form and context. This becomes a polemic when encompassed into architectural styles and genres: Hi-Tech wears its heart on its sleeve; Modernism, from the roots of classicism, follows function to a degree; and Post Modernism masks and plays games with little care as to whether there is honesty or dishonesty in the styling of buildings.
 
Marked by increasing amounts of financial and political constraints in the UK, progress in  new architectural style and form has become limited. Architects continue to tell us how important they are and fight to illustrate how ethical, or how honest they are to their projects. Is there any truth in the claim that the fashion for a rational pared down aesthetic is any more authentic than the decorative motifs of the past? Architects join forces with developers to PR spin their designs, but surely commercial viability is more straightforward than a fetish for ideology over purpose. Is there possibility in this current age of ‘Fake News’, for  architects to proudly embrace a dishonest design approach and cheat the constraints of the system? How thick is your brick?

Speakers:

Will Hurst, Architects’ Journal (Chair)
Amin Taha, Groupwork
Jo Cowen, Jo Cowen Architects 
Simon Allford, Allford Hall Monaghan Morris
Sean Griffiths, Prof. of Architecture, freelance artist &amp;amp; architect</itunes:summary>
      <itunes:subtitle>Thick As A Brick: Dis Honesty And Architecture…

Over years of architectural and building history, the approach to design has frequently been supported by claims of being honest to material, form and context. This becomes a polemic when encompassed into a</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talks N°5 Podcast</title>
      <itunes:episode>35</itunes:episode>
      <podcast:episode>35</podcast:episode>
      <itunes:title>Negroni Talks N°5 Podcast</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1454136937</guid>
      <link>https://share.transistor.fm/s/a8e8cbb4</link>
      <description>
        <![CDATA[Negroni Talks N°5 Podcast by Fourthspace]]>
      </description>
      <content:encoded>
        <![CDATA[Negroni Talks N°5 Podcast by Fourthspace]]>
      </content:encoded>
      <pubDate>Thu, 23 Feb 2023 16:55:33 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/a8e8cbb4/bfa9dbae.mp3" length="69649602" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/WgVMztYHyc4WnyigkyoJq28-e--yyI6-NfUB3bdt5DY/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9kZWM5/MDQ2N2E2ZWUzMzIy/YjcwN2E3MmQ4M2Zk/MDNlZi5qcGc.jpg"/>
      <itunes:duration>4353</itunes:duration>
      <itunes:summary>Negroni Talks N°5 Podcast by Fourthspace</itunes:summary>
      <itunes:subtitle>Negroni Talks N°5 Podcast by Fourthspace</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>#A2 The Politics Of Architecture Series: BRISTOL</title>
      <itunes:episode>34</itunes:episode>
      <podcast:episode>34</podcast:episode>
      <itunes:title>#A2 The Politics Of Architecture Series: BRISTOL</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1454134306</guid>
      <link>https://share.transistor.fm/s/d4e1c84e</link>
      <description>
        <![CDATA[Having provoked debates interrogating all things “Architectural” from its base in east London, “Negroni talks…!” is hitting the road to discover how the Politics Of Architecture plays out in other parts of the UK. Heading North, South, East and West, The Negroni Talks On the Road Tour aims to hold ‘4 talks in 4 towns’, taking a look at what’s happening on the ground by focusing on local factors that shape the built environment, and what this means for it’s inhabitants.  

In overview, the Series presents essentially the same discussion in each of the places visited. This repetition is a means to spotlight differences, but also those areas of similarity between urban environments to make comparisons at a national scale. The fabric of each village, town and city across the land stands as a witness to the fallibility of decision-making where private agendas and the public interest collide. Recording the passage of time in material forms, every built landscape provides its own version of a common history - namely the cause and effect impact that buildings and property have as a political player. 

The talk series poses a series of questions to prompt the discussions:

Process: Building is a simple act with an abundance of complexities. What are the fundamental flaws in the current overall system by which buildings are created?  

Planning: A broken system suffering from a distinct lack of vision? Does it address need and if so whose? As a reactive body, does it have the ability, the will, or the funding to ensure that beyond the concerns of the individual, there is a grander master plan? 

Policy: Is there a lack of assertiveness, a lack of confidence, a lack of knowledge or a lack of ideas on how to carefully harness market forces for the common good?

Permission: Who decides? Are the interests &amp; the imagination of those who say yes or no, broad enough? 

Playing the game: Who sets the rules and is breaking them the only way to build what is really needed?

Procurement: Finance tends to dominate discussions about delivery and determines (and often limits) the scope of what is possible? So, what of our ambition? What could be? 

Potential: Where and how is it being wasted?

Place-making:  Can new buildings offer a necessary variety so that they serve all demographics in society and assist in creating more collective spirited communities in the future? 

Progressiveness:  How do you create processes where quality and invention are expected and not hoped for?

Performance: How do you ensure that all buildings contribute socially &amp; environmentally? 

Past Problems: The built environment offers lessons on mistakes made. It illustrates what works, what has time proven longevity and where ideas/experiments have failed. With the benefit of hindsight, are we clear in what we are doing and what we need to avoid? 

Purpose: What is the point of building? Should we ask this before we do anything?

Planet: Can ‘development opportunity’ become redefined so that new building is allied more with existing built fabric?

Power: How can heritage, identity and representation be used positively to decentralize, diversify and empower?

Politics: Despite the posturing and of our politicians and the promotion of Britain as ‘Great’, are our built environments blighted by a national malaise and if so what can be done to overcome this?]]>
      </description>
      <content:encoded>
        <![CDATA[Having provoked debates interrogating all things “Architectural” from its base in east London, “Negroni talks…!” is hitting the road to discover how the Politics Of Architecture plays out in other parts of the UK. Heading North, South, East and West, The Negroni Talks On the Road Tour aims to hold ‘4 talks in 4 towns’, taking a look at what’s happening on the ground by focusing on local factors that shape the built environment, and what this means for it’s inhabitants.  

In overview, the Series presents essentially the same discussion in each of the places visited. This repetition is a means to spotlight differences, but also those areas of similarity between urban environments to make comparisons at a national scale. The fabric of each village, town and city across the land stands as a witness to the fallibility of decision-making where private agendas and the public interest collide. Recording the passage of time in material forms, every built landscape provides its own version of a common history - namely the cause and effect impact that buildings and property have as a political player. 

The talk series poses a series of questions to prompt the discussions:

Process: Building is a simple act with an abundance of complexities. What are the fundamental flaws in the current overall system by which buildings are created?  

Planning: A broken system suffering from a distinct lack of vision? Does it address need and if so whose? As a reactive body, does it have the ability, the will, or the funding to ensure that beyond the concerns of the individual, there is a grander master plan? 

Policy: Is there a lack of assertiveness, a lack of confidence, a lack of knowledge or a lack of ideas on how to carefully harness market forces for the common good?

Permission: Who decides? Are the interests &amp; the imagination of those who say yes or no, broad enough? 

Playing the game: Who sets the rules and is breaking them the only way to build what is really needed?

Procurement: Finance tends to dominate discussions about delivery and determines (and often limits) the scope of what is possible? So, what of our ambition? What could be? 

Potential: Where and how is it being wasted?

Place-making:  Can new buildings offer a necessary variety so that they serve all demographics in society and assist in creating more collective spirited communities in the future? 

Progressiveness:  How do you create processes where quality and invention are expected and not hoped for?

Performance: How do you ensure that all buildings contribute socially &amp; environmentally? 

Past Problems: The built environment offers lessons on mistakes made. It illustrates what works, what has time proven longevity and where ideas/experiments have failed. With the benefit of hindsight, are we clear in what we are doing and what we need to avoid? 

Purpose: What is the point of building? Should we ask this before we do anything?

Planet: Can ‘development opportunity’ become redefined so that new building is allied more with existing built fabric?

Power: How can heritage, identity and representation be used positively to decentralize, diversify and empower?

Politics: Despite the posturing and of our politicians and the promotion of Britain as ‘Great’, are our built environments blighted by a national malaise and if so what can be done to overcome this?]]>
      </content:encoded>
      <pubDate>Thu, 23 Feb 2023 16:51:14 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/d4e1c84e/a7b88eb8.mp3" length="77265236" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/l03apf1UdYD0zUc0TkVGbi2j5p0oTWcbi9jKywYQ6kQ/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS8yY2Zm/MjE2NjQzODdlYWZl/OWZiMTVkNGUwNGM5/MzJmMC5qcGc.jpg"/>
      <itunes:duration>4829</itunes:duration>
      <itunes:summary>Having provoked debates interrogating all things “Architectural” from its base in east London, “Negroni talks…!” is hitting the road to discover how the Politics Of Architecture plays out in other parts of the UK. Heading North, South, East and West, The Negroni Talks On the Road Tour aims to hold ‘4 talks in 4 towns’, taking a look at what’s happening on the ground by focusing on local factors that shape the built environment, and what this means for it’s inhabitants.  

In overview, the Series presents essentially the same discussion in each of the places visited. This repetition is a means to spotlight differences, but also those areas of similarity between urban environments to make comparisons at a national scale. The fabric of each village, town and city across the land stands as a witness to the fallibility of decision-making where private agendas and the public interest collide. Recording the passage of time in material forms, every built landscape provides its own version of a common history - namely the cause and effect impact that buildings and property have as a political player. 

The talk series poses a series of questions to prompt the discussions:

Process: Building is a simple act with an abundance of complexities. What are the fundamental flaws in the current overall system by which buildings are created?  

Planning: A broken system suffering from a distinct lack of vision? Does it address need and if so whose? As a reactive body, does it have the ability, the will, or the funding to ensure that beyond the concerns of the individual, there is a grander master plan? 

Policy: Is there a lack of assertiveness, a lack of confidence, a lack of knowledge or a lack of ideas on how to carefully harness market forces for the common good?

Permission: Who decides? Are the interests &amp;amp; the imagination of those who say yes or no, broad enough? 

Playing the game: Who sets the rules and is breaking them the only way to build what is really needed?

Procurement: Finance tends to dominate discussions about delivery and determines (and often limits) the scope of what is possible? So, what of our ambition? What could be? 

Potential: Where and how is it being wasted?

Place-making:  Can new buildings offer a necessary variety so that they serve all demographics in society and assist in creating more collective spirited communities in the future? 

Progressiveness:  How do you create processes where quality and invention are expected and not hoped for?

Performance: How do you ensure that all buildings contribute socially &amp;amp; environmentally? 

Past Problems: The built environment offers lessons on mistakes made. It illustrates what works, what has time proven longevity and where ideas/experiments have failed. With the benefit of hindsight, are we clear in what we are doing and what we need to avoid? 

Purpose: What is the point of building? Should we ask this before we do anything?

Planet: Can ‘development opportunity’ become redefined so that new building is allied more with existing built fabric?

Power: How can heritage, identity and representation be used positively to decentralize, diversify and empower?

Politics: Despite the posturing and of our politicians and the promotion of Britain as ‘Great’, are our built environments blighted by a national malaise and if so what can be done to overcome this?</itunes:summary>
      <itunes:subtitle>Having provoked debates interrogating all things “Architectural” from its base in east London, “Negroni talks…!” is hitting the road to discover how the Politics Of Architecture plays out in other parts of the UK. Heading North, South, East and West, The </itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #2 The Recognitions (architecture’s gentrification guilt)</title>
      <itunes:episode>33</itunes:episode>
      <podcast:episode>33</podcast:episode>
      <itunes:title>Negroni Talk #2 The Recognitions (architecture’s gentrification guilt)</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1454119267</guid>
      <link>https://share.transistor.fm/s/23fcf781</link>
      <description>
        <![CDATA[The Recognitions (architecture’s gentrification guilt)

Vyner Street is a locus for the shifting identity of London’s East End. Artists and creatives moved into the area and integrated themselves into the local culture and communities. However, their arrival was a catalyst for regenerative change that they didn’t necessarily want. Architects play a key role in this economic shift and are still present in Hackney and Tower Hamlets. Should they take a stronger position in the development of the area and the way it affects the original communities and the few remaining artists?  

 

Speakers: 

Dr. Jane Clossick, London Metropolitan University (chair)
Cullinan Richards, Artists
Torange Khonsari, Public Works
Dr. Elanor Warwick, Clarion Housing Group
Cordula Weisser, ZCD Architects]]>
      </description>
      <content:encoded>
        <![CDATA[The Recognitions (architecture’s gentrification guilt)

Vyner Street is a locus for the shifting identity of London’s East End. Artists and creatives moved into the area and integrated themselves into the local culture and communities. However, their arrival was a catalyst for regenerative change that they didn’t necessarily want. Architects play a key role in this economic shift and are still present in Hackney and Tower Hamlets. Should they take a stronger position in the development of the area and the way it affects the original communities and the few remaining artists?  

 

Speakers: 

Dr. Jane Clossick, London Metropolitan University (chair)
Cullinan Richards, Artists
Torange Khonsari, Public Works
Dr. Elanor Warwick, Clarion Housing Group
Cordula Weisser, ZCD Architects]]>
      </content:encoded>
      <pubDate>Thu, 23 Feb 2023 16:35:31 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/23fcf781/f567549c.mp3" length="85866836" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/guGNCySQ2x05SYzrUQkdETCFioKNR_EW_P-Nl93X8N8/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS80OWJm/NzE0NDk2Njc3OTI1/OGMxOGRjOGFkZTJm/MzM5Zi5qcGc.jpg"/>
      <itunes:duration>5367</itunes:duration>
      <itunes:summary>The Recognitions (architecture’s gentrification guilt)

Vyner Street is a locus for the shifting identity of London’s East End. Artists and creatives moved into the area and integrated themselves into the local culture and communities. However, their arrival was a catalyst for regenerative change that they didn’t necessarily want. Architects play a key role in this economic shift and are still present in Hackney and Tower Hamlets. Should they take a stronger position in the development of the area and the way it affects the original communities and the few remaining artists?  

 

Speakers: 

Dr. Jane Clossick, London Metropolitan University (chair)
Cullinan Richards, Artists
Torange Khonsari, Public Works
Dr. Elanor Warwick, Clarion Housing Group
Cordula Weisser, ZCD Architects</itunes:summary>
      <itunes:subtitle>The Recognitions (architecture’s gentrification guilt)

Vyner Street is a locus for the shifting identity of London’s East End. Artists and creatives moved into the area and integrated themselves into the local culture and communities. However, their arri</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #4 What will Brexit actually look like ?</title>
      <itunes:episode>32</itunes:episode>
      <podcast:episode>32</podcast:episode>
      <itunes:title>Negroni Talk #4 What will Brexit actually look like ?</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1454107552</guid>
      <link>https://share.transistor.fm/s/8bd7594b</link>
      <description>
        <![CDATA[What will Brexit actually look like ?

The UK is leaving the EU and it seems that some politicians believe in the same kind of economic and cultural self-sufficiency as proposed by the 1930s Italian concept of Autarchia. The truth of the matter is that London’s built environment is about to transform and no one knows what it’s going to end up looking like. The current demographic of European property owners, contractors and architects are likely to change in ways we don’t yet understand. Will it end in disaster or are there massive opportunities to improve the status quo? Trade and investment drive business, and architects have proven that they are endlessly resourceful and can adapt to suit their environment. How can we make the best of unexpected circumstances and what are the moral implications? What will a post-Brexit London look like?

Speakers:

Paul Finch, World Architecture Festival (chair)
Emilia Ternani, Phaidon
Vicky Richardson, London School Of Architecture
Lee Mallett, Urbik
Friedrich Ludewig, ACME]]>
      </description>
      <content:encoded>
        <![CDATA[What will Brexit actually look like ?

The UK is leaving the EU and it seems that some politicians believe in the same kind of economic and cultural self-sufficiency as proposed by the 1930s Italian concept of Autarchia. The truth of the matter is that London’s built environment is about to transform and no one knows what it’s going to end up looking like. The current demographic of European property owners, contractors and architects are likely to change in ways we don’t yet understand. Will it end in disaster or are there massive opportunities to improve the status quo? Trade and investment drive business, and architects have proven that they are endlessly resourceful and can adapt to suit their environment. How can we make the best of unexpected circumstances and what are the moral implications? What will a post-Brexit London look like?

Speakers:

Paul Finch, World Architecture Festival (chair)
Emilia Ternani, Phaidon
Vicky Richardson, London School Of Architecture
Lee Mallett, Urbik
Friedrich Ludewig, ACME]]>
      </content:encoded>
      <pubDate>Thu, 23 Feb 2023 16:17:16 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/8bd7594b/20c055b5.mp3" length="81113804" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/vEIkQlKNqZOhIt5BwRMItnLesEACXWW_QTh0bD0ddzw/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS83Njk1/NTljMzc4YmNlMjRl/OWRhYWM4MzBiNWMy/NDliOC5qcGc.jpg"/>
      <itunes:duration>5070</itunes:duration>
      <itunes:summary>What will Brexit actually look like ?

The UK is leaving the EU and it seems that some politicians believe in the same kind of economic and cultural self-sufficiency as proposed by the 1930s Italian concept of Autarchia. The truth of the matter is that London’s built environment is about to transform and no one knows what it’s going to end up looking like. The current demographic of European property owners, contractors and architects are likely to change in ways we don’t yet understand. Will it end in disaster or are there massive opportunities to improve the status quo? Trade and investment drive business, and architects have proven that they are endlessly resourceful and can adapt to suit their environment. How can we make the best of unexpected circumstances and what are the moral implications? What will a post-Brexit London look like?

Speakers:

Paul Finch, World Architecture Festival (chair)
Emilia Ternani, Phaidon
Vicky Richardson, London School Of Architecture
Lee Mallett, Urbik
Friedrich Ludewig, ACME</itunes:summary>
      <itunes:subtitle>What will Brexit actually look like ?

The UK is leaving the EU and it seems that some politicians believe in the same kind of economic and cultural self-sufficiency as proposed by the 1930s Italian concept of Autarchia. The truth of the matter is that Lo</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #3 – Where’s the punk in architecture ?</title>
      <itunes:episode>31</itunes:episode>
      <podcast:episode>31</podcast:episode>
      <itunes:title>Negroni Talk #3 – Where’s the punk in architecture ?</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1454085841</guid>
      <link>https://share.transistor.fm/s/50dea460</link>
      <description>
        <![CDATA[Beatniks, punks and other countercultures were borne out of a restless discontent with the status quo and a desire to shift ideologies for new generations. These ideas and movements manifested themselves through art, music and literature but architecture has trodden a safer creative path. Rebellious architects appeared from time to time but what is their legacy today? Can the industry shake off its timid approach and demonstrate that buildings can affect real change?

 

Speakers:

Tim Abrahams, Architecture Critic (chair)
Piers Taylor, Invisible Studio
Charles Holland, Charles Holland Architects
Shumi Bose, Central St Martins
Caz Facey, Ing Media]]>
      </description>
      <content:encoded>
        <![CDATA[Beatniks, punks and other countercultures were borne out of a restless discontent with the status quo and a desire to shift ideologies for new generations. These ideas and movements manifested themselves through art, music and literature but architecture has trodden a safer creative path. Rebellious architects appeared from time to time but what is their legacy today? Can the industry shake off its timid approach and demonstrate that buildings can affect real change?

 

Speakers:

Tim Abrahams, Architecture Critic (chair)
Piers Taylor, Invisible Studio
Charles Holland, Charles Holland Architects
Shumi Bose, Central St Martins
Caz Facey, Ing Media]]>
      </content:encoded>
      <pubDate>Thu, 23 Feb 2023 15:48:18 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/50dea460/5696c049.mp3" length="72383055" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/5_SfGNtcqJlngeoHa6qhlQRUTpKDwoeU31ZCB5sVISw/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS83Y2Y1/ZTFkN2FiYmQwODc0/MjkzODE2Y2YyNTk2/NDk3OC5qcGc.jpg"/>
      <itunes:duration>4524</itunes:duration>
      <itunes:summary>Beatniks, punks and other countercultures were borne out of a restless discontent with the status quo and a desire to shift ideologies for new generations. These ideas and movements manifested themselves through art, music and literature but architecture has trodden a safer creative path. Rebellious architects appeared from time to time but what is their legacy today? Can the industry shake off its timid approach and demonstrate that buildings can affect real change?

 

Speakers:

Tim Abrahams, Architecture Critic (chair)
Piers Taylor, Invisible Studio
Charles Holland, Charles Holland Architects
Shumi Bose, Central St Martins
Caz Facey, Ing Media</itunes:summary>
      <itunes:subtitle>Beatniks, punks and other countercultures were borne out of a restless discontent with the status quo and a desire to shift ideologies for new generations. These ideas and movements manifested themselves through art, music and literature but architecture </itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #S3 - 25th September 2022 @ BARGEHOUSE . OXO TOWER WHARF . SOUTHBANK</title>
      <itunes:episode>30</itunes:episode>
      <podcast:episode>30</podcast:episode>
      <itunes:title>Negroni Talk #S3 - 25th September 2022 @ BARGEHOUSE . OXO TOWER WHARF . SOUTHBANK</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1454062069</guid>
      <link>https://share.transistor.fm/s/dfb501b8</link>
      <description>
        <![CDATA[Craftwork: Man . Machine _ How Should Architects Be Material Synthesisers In An Electronic Age?

In Association With Material Matters:

Lots of architects claim that they 'craft' a building. They point at beautiful clay or paper models but in reality architecture is produced through Revit and follows strict rules of compliance and regulation. Materials are a great way to connect buildings and craft together, however, are people really convinced that a corporate office is baked in a kiln? And what about craftspeople themselves? What is their role in the design and construction of buildings? Surely they could help create spaces that are humane, tactile and desirable and yet the such considerations don’t seem to be part of the process until it's all too late, if at all. Join us for an evening of discussion about craft and architecture, or should it be craft vs architecture? 

Featuring:

Debika Ray, editior Crafts (chair)
Bill Amberg, founder Bill Amberg Studio
Mat Barnes, director, CAN
Corinne Julius, curator, writer and broadcaster
Shiro Muchiri, creative director So Shiro                                                                                                                                                    

amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[Craftwork: Man . Machine _ How Should Architects Be Material Synthesisers In An Electronic Age?

In Association With Material Matters:

Lots of architects claim that they 'craft' a building. They point at beautiful clay or paper models but in reality architecture is produced through Revit and follows strict rules of compliance and regulation. Materials are a great way to connect buildings and craft together, however, are people really convinced that a corporate office is baked in a kiln? And what about craftspeople themselves? What is their role in the design and construction of buildings? Surely they could help create spaces that are humane, tactile and desirable and yet the such considerations don’t seem to be part of the process until it's all too late, if at all. Join us for an evening of discussion about craft and architecture, or should it be craft vs architecture? 

Featuring:

Debika Ray, editior Crafts (chair)
Bill Amberg, founder Bill Amberg Studio
Mat Barnes, director, CAN
Corinne Julius, curator, writer and broadcaster
Shiro Muchiri, creative director So Shiro                                                                                                                                                    

amongst others….]]>
      </content:encoded>
      <pubDate>Thu, 23 Feb 2023 15:09:18 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/dfb501b8/9aac5dd9.mp3" length="49742754" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/m3Sr5dSYHHHYnMG0TDVF0vxQayi3r-6EIn2ZGSEw5JI/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS83YmYx/MGFiZWNlMjMxNDdm/NzVjZmM0OTU1NzBh/OGM5Yy5qcGc.jpg"/>
      <itunes:duration>3109</itunes:duration>
      <itunes:summary>Craftwork: Man . Machine _ How Should Architects Be Material Synthesisers In An Electronic Age?

In Association With Material Matters:

Lots of architects claim that they 'craft' a building. They point at beautiful clay or paper models but in reality architecture is produced through Revit and follows strict rules of compliance and regulation. Materials are a great way to connect buildings and craft together, however, are people really convinced that a corporate office is baked in a kiln? And what about craftspeople themselves? What is their role in the design and construction of buildings? Surely they could help create spaces that are humane, tactile and desirable and yet the such considerations don’t seem to be part of the process until it's all too late, if at all. Join us for an evening of discussion about craft and architecture, or should it be craft vs architecture? 

Featuring:

Debika Ray, editior Crafts (chair)
Bill Amberg, founder Bill Amberg Studio
Mat Barnes, director, CAN
Corinne Julius, curator, writer and broadcaster
Shiro Muchiri, creative director So Shiro                                                                                                                                                    

amongst others….</itunes:summary>
      <itunes:subtitle>Craftwork: Man . Machine _ How Should Architects Be Material Synthesisers In An Electronic Age?

In Association With Material Matters:

Lots of architects claim that they 'craft' a building. They point at beautiful clay or paper models but in reality arch</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #S2 - 23rd September 2022 @ BARGEHOUSE . OXO TOWER WHARF . SOUTHBANK</title>
      <itunes:episode>29</itunes:episode>
      <podcast:episode>29</podcast:episode>
      <itunes:title>Negroni Talk #S2 - 23rd September 2022 @ BARGEHOUSE . OXO TOWER WHARF . SOUTHBANK</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1454047480</guid>
      <link>https://share.transistor.fm/s/cbebdd22</link>
      <description>
        <![CDATA[By The Seat Of Their Pants? Architects Designing Chairs.

In Association With Material Matters:

The Eames did it, Mies did it, even architecturally-educated fleas did it. Let's do it, let's design a chair. Why do architects think they can dip their toes into furniture design? And, perhaps more interestingly, why do product designers think they can have a pop at architecture? We all agree that interdisciplinary crossovers are interesting, but surely professionals train for years for a particular purpose. Lets explore why designers fancy stepping on each others' toes and what happens when they join forces. 

Featuring:

Claire Dowdy, journalist (chair)
Naomi Cleaver, designer, author and broadcaster
Nigel Coates, architect and designer
Adam Nathan Furman, artist and designer
Hanna Afolabi, Mood and Space                                                                                                                                                       amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[By The Seat Of Their Pants? Architects Designing Chairs.

In Association With Material Matters:

The Eames did it, Mies did it, even architecturally-educated fleas did it. Let's do it, let's design a chair. Why do architects think they can dip their toes into furniture design? And, perhaps more interestingly, why do product designers think they can have a pop at architecture? We all agree that interdisciplinary crossovers are interesting, but surely professionals train for years for a particular purpose. Lets explore why designers fancy stepping on each others' toes and what happens when they join forces. 

Featuring:

Claire Dowdy, journalist (chair)
Naomi Cleaver, designer, author and broadcaster
Nigel Coates, architect and designer
Adam Nathan Furman, artist and designer
Hanna Afolabi, Mood and Space                                                                                                                                                       amongst others….]]>
      </content:encoded>
      <pubDate>Thu, 23 Feb 2023 14:49:59 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/cbebdd22/1928d29b.mp3" length="47097908" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/N1A8ttrdjF1RMP7n4IyNpyQPXBHxAzJvp0I6ptWJI6U/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9iNzRh/ZGRmNzZhMWM1MzI1/NzgwZjkwMzAwZTYy/YWUzOC5qcGc.jpg"/>
      <itunes:duration>2944</itunes:duration>
      <itunes:summary>By The Seat Of Their Pants? Architects Designing Chairs.

In Association With Material Matters:

The Eames did it, Mies did it, even architecturally-educated fleas did it. Let's do it, let's design a chair. Why do architects think they can dip their toes into furniture design? And, perhaps more interestingly, why do product designers think they can have a pop at architecture? We all agree that interdisciplinary crossovers are interesting, but surely professionals train for years for a particular purpose. Lets explore why designers fancy stepping on each others' toes and what happens when they join forces. 

Featuring:

Claire Dowdy, journalist (chair)
Naomi Cleaver, designer, author and broadcaster
Nigel Coates, architect and designer
Adam Nathan Furman, artist and designer
Hanna Afolabi, Mood and Space                                                                                                                                                       amongst others….</itunes:summary>
      <itunes:subtitle>By The Seat Of Their Pants? Architects Designing Chairs.

In Association With Material Matters:

The Eames did it, Mies did it, even architecturally-educated fleas did it. Let's do it, let's design a chair. Why do architects think they can dip their toes </itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #38 - 31.01.2023 The Picturesque #2: Estate Of Mind</title>
      <itunes:episode>28</itunes:episode>
      <podcast:episode>28</podcast:episode>
      <itunes:title>Negroni Talk #38 - 31.01.2023 The Picturesque #2: Estate Of Mind</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1437495760</guid>
      <link>https://share.transistor.fm/s/68045c45</link>
      <description>
        <![CDATA[Social housing is incredibly important as one of the sectors where  the work of architects and planners can have the most direct impact on  cities and their populations. If done properly it should create inclusive, good quality places to live for the more vulnerable and less well off in our society. However, the ideals for post-war inner-city housing moved from utopian vision to dystopia in the public perception,  thanks to inconsistent execution, poor maintenance and the sense that Brutalism is somehow dehumanizing. 

We are now experiencing the inevitable backswing though, as certain towers and estates have fallen into fashion, with a rediscovering of past values such as: experimental design, decent space standards, solid materials and an attention to detail that has gone missing in our contemporary formula-driven residential offerings. The celebration of these potent symbols of a bygone era can be witnessed across books and films, on album covers, featured in walking tours and appearing on everything from posters to tea towels. Estate agents are able to command high prices for flats set within concrete landscapes. This obsession with a new kind of picturesque seems to run alongside the trend for the photographic coverage of urban decay and what has been termed “ruin porn”. 

Is  there a danger that we are commodifying a super-graphic architecture that keeps us one-step removed from social purpose? Are we seeing buildings as bold geometric statements rather than focusing on the lived experience of residents? How do we address the inherent tension between the spectator snapping away at surface appearance and the occupants living inside whose homes have become subjected to cycle trip ‘tourism’ and Instagram posts? 

Council housing in the UK has its detractors, but it grew out of an idealism that is no less urgent given the political social and economic realities of today. How do we get closer to a pioneering sense of purpose and guarantee avant-garde, design-led housing that works for the future, in a way that was attempted in the past? 

S﻿peakers:

Gareth Gardner, Photographer, Curator, Journalist (chair)                                                                                                                                                               R﻿ut Blees Luxemburg, Photographer
Yemí Aládérun, Meridian Water      
Albert Hill, The Modern House
Rosalind Peebles, Open City          
Charlotte Ginsborg, Filmmaker

amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[Social housing is incredibly important as one of the sectors where  the work of architects and planners can have the most direct impact on  cities and their populations. If done properly it should create inclusive, good quality places to live for the more vulnerable and less well off in our society. However, the ideals for post-war inner-city housing moved from utopian vision to dystopia in the public perception,  thanks to inconsistent execution, poor maintenance and the sense that Brutalism is somehow dehumanizing. 

We are now experiencing the inevitable backswing though, as certain towers and estates have fallen into fashion, with a rediscovering of past values such as: experimental design, decent space standards, solid materials and an attention to detail that has gone missing in our contemporary formula-driven residential offerings. The celebration of these potent symbols of a bygone era can be witnessed across books and films, on album covers, featured in walking tours and appearing on everything from posters to tea towels. Estate agents are able to command high prices for flats set within concrete landscapes. This obsession with a new kind of picturesque seems to run alongside the trend for the photographic coverage of urban decay and what has been termed “ruin porn”. 

Is  there a danger that we are commodifying a super-graphic architecture that keeps us one-step removed from social purpose? Are we seeing buildings as bold geometric statements rather than focusing on the lived experience of residents? How do we address the inherent tension between the spectator snapping away at surface appearance and the occupants living inside whose homes have become subjected to cycle trip ‘tourism’ and Instagram posts? 

Council housing in the UK has its detractors, but it grew out of an idealism that is no less urgent given the political social and economic realities of today. How do we get closer to a pioneering sense of purpose and guarantee avant-garde, design-led housing that works for the future, in a way that was attempted in the past? 

S﻿peakers:

Gareth Gardner, Photographer, Curator, Journalist (chair)                                                                                                                                                               R﻿ut Blees Luxemburg, Photographer
Yemí Aládérun, Meridian Water      
Albert Hill, The Modern House
Rosalind Peebles, Open City          
Charlotte Ginsborg, Filmmaker

amongst others….]]>
      </content:encoded>
      <pubDate>Wed, 01 Feb 2023 14:54:08 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/68045c45/e86c5542.mp3" length="83841519" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/nYFs98D38aFSsI7THX-OuEELc1-9zkDrnEYv7VmpmwA/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9hOTI5/YWQwYWJiOTcwZWMx/NzQzNGQ2ZTQ0MWM3/MjU0My5qcGc.jpg"/>
      <itunes:duration>5240</itunes:duration>
      <itunes:summary>Social housing is incredibly important as one of the sectors where  the work of architects and planners can have the most direct impact on  cities and their populations. If done properly it should create inclusive, good quality places to live for the more vulnerable and less well off in our society. However, the ideals for post-war inner-city housing moved from utopian vision to dystopia in the public perception,  thanks to inconsistent execution, poor maintenance and the sense that Brutalism is somehow dehumanizing. 

We are now experiencing the inevitable backswing though, as certain towers and estates have fallen into fashion, with a rediscovering of past values such as: experimental design, decent space standards, solid materials and an attention to detail that has gone missing in our contemporary formula-driven residential offerings. The celebration of these potent symbols of a bygone era can be witnessed across books and films, on album covers, featured in walking tours and appearing on everything from posters to tea towels. Estate agents are able to command high prices for flats set within concrete landscapes. This obsession with a new kind of picturesque seems to run alongside the trend for the photographic coverage of urban decay and what has been termed “ruin porn”. 

Is  there a danger that we are commodifying a super-graphic architecture that keeps us one-step removed from social purpose? Are we seeing buildings as bold geometric statements rather than focusing on the lived experience of residents? How do we address the inherent tension between the spectator snapping away at surface appearance and the occupants living inside whose homes have become subjected to cycle trip ‘tourism’ and Instagram posts? 

Council housing in the UK has its detractors, but it grew out of an idealism that is no less urgent given the political social and economic realities of today. How do we get closer to a pioneering sense of purpose and guarantee avant-garde, design-led housing that works for the future, in a way that was attempted in the past? 

S﻿peakers:

Gareth Gardner, Photographer, Curator, Journalist (chair)                                                                                                                                                               R﻿ut Blees Luxemburg, Photographer
Yemí Aládérun, Meridian Water      
Albert Hill, The Modern House
Rosalind Peebles, Open City          
Charlotte Ginsborg, Filmmaker

amongst others….</itunes:summary>
      <itunes:subtitle>Social housing is incredibly important as one of the sectors where  the work of architects and planners can have the most direct impact on  cities and their populations. If done properly it should create inclusive, good quality places to live for the more</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #37 - 29th November 2022 The Picturesque #3: Vernacular Schmernacular</title>
      <itunes:episode>27</itunes:episode>
      <podcast:episode>27</podcast:episode>
      <itunes:title>Negroni Talk #37 - 29th November 2022 The Picturesque #3: Vernacular Schmernacular</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1399335751</guid>
      <link>https://share.transistor.fm/s/070e17ae</link>
      <description>
        <![CDATA[The Picturesque #3: Vernacular Schmernacular

What the hell does ‘vernacular’ mean in architecture? 

The term is defined as 

"the language or dialect spoken by the ordinary people in a particular country or region”

“architecture concerned with domestic and functional rather than public or monumental buildings”. 

In today’s planning and design setting, it seems to revolve solely around aesthetics, material and style. Hip architects and mass house builders alike, knowingly reference traditional/historical design motifs to secure a kind of moral high ground and justify why their buildings are the way they are.  

Is there any such a thing as a national, regional or a particular city/town/village vernacular? Should we adhere to a sense of 'a particular way' of doing things to provide us with a sense of identity and place-making, or should the idea of 'a vernacular' be challenged and re-defined as something related to culture more broadly? Are people having the wool pulled over their eyes by those delivering buildings, where the actual content of what is being delivered is being trumped by self-referential form making. A return to those dictionary definitions may point the way forward….

Context is very important and we should be aware of our surroundings when designing places for people to live, work and enjoy themselves. Good design engenders a sense of pride although style is clearly a loaded gun in the politicised policy-driven world of planning and what gets permission. However, as we face the challenges of the climate emergency and growing social inequality, can we afford to get distracted by details and differences? And who’s vernacular are we talking about when we think about the wide range of communities that make up a local area or sometimes a single street? Is it time to ditch the word altogether, or do we need to develop a new type of vernacular that is driven by the pressing needs of the day? 

Speakers:

Alpa Depani, Waltham Forest (chair)                                                                                                                                                               Selasi Setufe, Be First
India Block, Disegno          
John Nordon, Neighbourhood
Joanne Cave, David Lock Associates            
Hugh McEwen, Office S&amp;M  

amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[The Picturesque #3: Vernacular Schmernacular

What the hell does ‘vernacular’ mean in architecture? 

The term is defined as 

"the language or dialect spoken by the ordinary people in a particular country or region”

“architecture concerned with domestic and functional rather than public or monumental buildings”. 

In today’s planning and design setting, it seems to revolve solely around aesthetics, material and style. Hip architects and mass house builders alike, knowingly reference traditional/historical design motifs to secure a kind of moral high ground and justify why their buildings are the way they are.  

Is there any such a thing as a national, regional or a particular city/town/village vernacular? Should we adhere to a sense of 'a particular way' of doing things to provide us with a sense of identity and place-making, or should the idea of 'a vernacular' be challenged and re-defined as something related to culture more broadly? Are people having the wool pulled over their eyes by those delivering buildings, where the actual content of what is being delivered is being trumped by self-referential form making. A return to those dictionary definitions may point the way forward….

Context is very important and we should be aware of our surroundings when designing places for people to live, work and enjoy themselves. Good design engenders a sense of pride although style is clearly a loaded gun in the politicised policy-driven world of planning and what gets permission. However, as we face the challenges of the climate emergency and growing social inequality, can we afford to get distracted by details and differences? And who’s vernacular are we talking about when we think about the wide range of communities that make up a local area or sometimes a single street? Is it time to ditch the word altogether, or do we need to develop a new type of vernacular that is driven by the pressing needs of the day? 

Speakers:

Alpa Depani, Waltham Forest (chair)                                                                                                                                                               Selasi Setufe, Be First
India Block, Disegno          
John Nordon, Neighbourhood
Joanne Cave, David Lock Associates            
Hugh McEwen, Office S&amp;M  

amongst others….]]>
      </content:encoded>
      <pubDate>Fri, 09 Dec 2022 11:43:13 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/070e17ae/b99cdb79.mp3" length="84443816" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/8wL7RnbcV0odcELnkGaDEyY7JXz5L886Wbf-RVTekSA/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS80N2Zm/OWVmYWQzNmU0MWNj/MzdmNDMxYmQ3YTc2/MGY5ZS5qcGc.jpg"/>
      <itunes:duration>5278</itunes:duration>
      <itunes:summary>The Picturesque #3: Vernacular Schmernacular

What the hell does ‘vernacular’ mean in architecture? 

The term is defined as 

"the language or dialect spoken by the ordinary people in a particular country or region”

“architecture concerned with domestic and functional rather than public or monumental buildings”. 

In today’s planning and design setting, it seems to revolve solely around aesthetics, material and style. Hip architects and mass house builders alike, knowingly reference traditional/historical design motifs to secure a kind of moral high ground and justify why their buildings are the way they are.  

Is there any such a thing as a national, regional or a particular city/town/village vernacular? Should we adhere to a sense of 'a particular way' of doing things to provide us with a sense of identity and place-making, or should the idea of 'a vernacular' be challenged and re-defined as something related to culture more broadly? Are people having the wool pulled over their eyes by those delivering buildings, where the actual content of what is being delivered is being trumped by self-referential form making. A return to those dictionary definitions may point the way forward….

Context is very important and we should be aware of our surroundings when designing places for people to live, work and enjoy themselves. Good design engenders a sense of pride although style is clearly a loaded gun in the politicised policy-driven world of planning and what gets permission. However, as we face the challenges of the climate emergency and growing social inequality, can we afford to get distracted by details and differences? And who’s vernacular are we talking about when we think about the wide range of communities that make up a local area or sometimes a single street? Is it time to ditch the word altogether, or do we need to develop a new type of vernacular that is driven by the pressing needs of the day? 

Speakers:

Alpa Depani, Waltham Forest (chair)                                                                                                                                                               Selasi Setufe, Be First
India Block, Disegno          
John Nordon, Neighbourhood
Joanne Cave, David Lock Associates            
Hugh McEwen, Office S&amp;amp;M  

amongst others….</itunes:summary>
      <itunes:subtitle>The Picturesque #3: Vernacular Schmernacular

What the hell does ‘vernacular’ mean in architecture? 

The term is defined as 

"the language or dialect spoken by the ordinary people in a particular country or region”

“architecture concerned with domestic</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #S6 For Better Of Worse It’s The Metaverse.</title>
      <itunes:episode>26</itunes:episode>
      <podcast:episode>26</podcast:episode>
      <itunes:title>Negroni Talk #S6 For Better Of Worse It’s The Metaverse.</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1392093688</guid>
      <link>https://share.transistor.fm/s/523ae848</link>
      <description>
        <![CDATA[In collaboration with Always Thinking &amp; The Festival Of Hospitality

The Negroni Talks have partnered up with the Festival of Hospitality as part of their new Devil’s Advocate series. Much like the existing programme, these events are intended to be open, provocative and engaging. Featured expert speakers will tackle difficult subjects head on but we also want to hear from the audience too, as part of a live and unfiltered discussion.

For Meta or Worse? is the first event and it provides an opportunity to ask questions about the role of the Metaverse within the hospitality industry, particularly as the world seems to lurch towards virtual environments. This new frontier could represent a goldrush for early pioneers, while simultaneously creating a dangerous territory where traditional rules no longer apply. How do we know where to invest and what will be the return?

There are, of course, early adopters such as brands like LEVEN and CitizenM, who are keen to embrace the expanded customer experience that the Metaverse brings. However, there are also many that hold on to the idea that the very nature of hospitality is rooted in interpersonal experiences in the ‘real’ world. How do we navigate this and who has all the answers?  

Speakers:

Philippa Wagner, Founder of PW/c (chair)                                                                                                                                                               Zaha Hadid Architects
Space Popular           
Lewis Silkin
4C Hotel Group            
LEVEN  

amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[In collaboration with Always Thinking &amp; The Festival Of Hospitality

The Negroni Talks have partnered up with the Festival of Hospitality as part of their new Devil’s Advocate series. Much like the existing programme, these events are intended to be open, provocative and engaging. Featured expert speakers will tackle difficult subjects head on but we also want to hear from the audience too, as part of a live and unfiltered discussion.

For Meta or Worse? is the first event and it provides an opportunity to ask questions about the role of the Metaverse within the hospitality industry, particularly as the world seems to lurch towards virtual environments. This new frontier could represent a goldrush for early pioneers, while simultaneously creating a dangerous territory where traditional rules no longer apply. How do we know where to invest and what will be the return?

There are, of course, early adopters such as brands like LEVEN and CitizenM, who are keen to embrace the expanded customer experience that the Metaverse brings. However, there are also many that hold on to the idea that the very nature of hospitality is rooted in interpersonal experiences in the ‘real’ world. How do we navigate this and who has all the answers?  

Speakers:

Philippa Wagner, Founder of PW/c (chair)                                                                                                                                                               Zaha Hadid Architects
Space Popular           
Lewis Silkin
4C Hotel Group            
LEVEN  

amongst others….]]>
      </content:encoded>
      <pubDate>Mon, 28 Nov 2022 17:38:08 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/523ae848/70013b38.mp3" length="94681340" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/R9KmTY73wnbcKvNPXCOuB0kl6cv5E7bBFdjEJfywnXk/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS81NjIw/MTc5MGZlNzY1NzRm/OTRjNzgwZjdlZDJi/MDY4My5qcGc.jpg"/>
      <itunes:duration>5918</itunes:duration>
      <itunes:summary>In collaboration with Always Thinking &amp;amp; The Festival Of Hospitality

The Negroni Talks have partnered up with the Festival of Hospitality as part of their new Devil’s Advocate series. Much like the existing programme, these events are intended to be open, provocative and engaging. Featured expert speakers will tackle difficult subjects head on but we also want to hear from the audience too, as part of a live and unfiltered discussion.

For Meta or Worse? is the first event and it provides an opportunity to ask questions about the role of the Metaverse within the hospitality industry, particularly as the world seems to lurch towards virtual environments. This new frontier could represent a goldrush for early pioneers, while simultaneously creating a dangerous territory where traditional rules no longer apply. How do we know where to invest and what will be the return?

There are, of course, early adopters such as brands like LEVEN and CitizenM, who are keen to embrace the expanded customer experience that the Metaverse brings. However, there are also many that hold on to the idea that the very nature of hospitality is rooted in interpersonal experiences in the ‘real’ world. How do we navigate this and who has all the answers?  

Speakers:

Philippa Wagner, Founder of PW/c (chair)                                                                                                                                                               Zaha Hadid Architects
Space Popular           
Lewis Silkin
4C Hotel Group            
LEVEN  

amongst others….</itunes:summary>
      <itunes:subtitle>In collaboration with Always Thinking &amp;amp; The Festival Of Hospitality

The Negroni Talks have partnered up with the Festival of Hospitality as part of their new Devil’s Advocate series. Much like the existing programme, these events are intended to be o</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #S5 The Alternative Stirling Prize</title>
      <itunes:episode>25</itunes:episode>
      <podcast:episode>25</podcast:episode>
      <itunes:title>Negroni Talk #S5 The Alternative Stirling Prize</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1392082777</guid>
      <link>https://share.transistor.fm/s/5a5ab33f</link>
      <description>
        <![CDATA[Every year, the great and the good of the British architecture scene gather to find out who will be crowned with the award for the best  building in the UK. The final shortlist features six projects, which have been whittled down from hundreds of submissions that stretch across  the length and breadth of the land, reflecting every scale and type of client. Sometimes it seems like an impossible set of criteria to judge  and therefore prizes for the best small project, best house and best housing have been created to help support other work. 

Instead of employing all those local and national judges – with a grand jury at the final stage – why not simply throw a few photos onto the internet and allow the general public to vote for their favourite in a knockout-style tournament? This is exactly what has been created by Tom Ravenscroft for the Alternative Stirling Prize. We’re not saying it’s a better process but tastes on social media can certainly differ from industry  arbiters. Does this tell us something about the court of public opinion? Is it useful for the profession to consider outside perspectives? 

We make no promises to answer these questions but please come and join us for a live event where we can discuss the merits of public decisions and find out who will take home the top prize at the 2022 Alternative Stirling Prize. 

Speakers:

Tom Ravenscroft, Dezeen (chair)                                                                                                                                                               Pooja Agrawal, Public Practice
Cath Slessor, Twentieth Century Society             
Sean Griffiths, Professor of Architecture  
Nile Bridgeman, Afterparti                                                                                                                       Marwa El Mubark, Afterparti                                                                                                                                Paul Monaghan, AHMM

amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[Every year, the great and the good of the British architecture scene gather to find out who will be crowned with the award for the best  building in the UK. The final shortlist features six projects, which have been whittled down from hundreds of submissions that stretch across  the length and breadth of the land, reflecting every scale and type of client. Sometimes it seems like an impossible set of criteria to judge  and therefore prizes for the best small project, best house and best housing have been created to help support other work. 

Instead of employing all those local and national judges – with a grand jury at the final stage – why not simply throw a few photos onto the internet and allow the general public to vote for their favourite in a knockout-style tournament? This is exactly what has been created by Tom Ravenscroft for the Alternative Stirling Prize. We’re not saying it’s a better process but tastes on social media can certainly differ from industry  arbiters. Does this tell us something about the court of public opinion? Is it useful for the profession to consider outside perspectives? 

We make no promises to answer these questions but please come and join us for a live event where we can discuss the merits of public decisions and find out who will take home the top prize at the 2022 Alternative Stirling Prize. 

Speakers:

Tom Ravenscroft, Dezeen (chair)                                                                                                                                                               Pooja Agrawal, Public Practice
Cath Slessor, Twentieth Century Society             
Sean Griffiths, Professor of Architecture  
Nile Bridgeman, Afterparti                                                                                                                       Marwa El Mubark, Afterparti                                                                                                                                Paul Monaghan, AHMM

amongst others….]]>
      </content:encoded>
      <pubDate>Mon, 28 Nov 2022 17:15:57 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/5a5ab33f/14e07e5c.mp3" length="59379187" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/5VvtileP2gpINAD8ED8UEk_Pu-UeCpbYt03bRYl8m98/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS84Y2U5/NDg5NTU4MGIyZWEy/ZDRkZmVmODQ1N2Rm/NjA0NC5qcGc.jpg"/>
      <itunes:duration>3712</itunes:duration>
      <itunes:summary>Every year, the great and the good of the British architecture scene gather to find out who will be crowned with the award for the best  building in the UK. The final shortlist features six projects, which have been whittled down from hundreds of submissions that stretch across  the length and breadth of the land, reflecting every scale and type of client. Sometimes it seems like an impossible set of criteria to judge  and therefore prizes for the best small project, best house and best housing have been created to help support other work. 

Instead of employing all those local and national judges – with a grand jury at the final stage – why not simply throw a few photos onto the internet and allow the general public to vote for their favourite in a knockout-style tournament? This is exactly what has been created by Tom Ravenscroft for the Alternative Stirling Prize. We’re not saying it’s a better process but tastes on social media can certainly differ from industry  arbiters. Does this tell us something about the court of public opinion? Is it useful for the profession to consider outside perspectives? 

We make no promises to answer these questions but please come and join us for a live event where we can discuss the merits of public decisions and find out who will take home the top prize at the 2022 Alternative Stirling Prize. 

Speakers:

Tom Ravenscroft, Dezeen (chair)                                                                                                                                                               Pooja Agrawal, Public Practice
Cath Slessor, Twentieth Century Society             
Sean Griffiths, Professor of Architecture  
Nile Bridgeman, Afterparti                                                                                                                       Marwa El Mubark, Afterparti                                                                                                                                Paul Monaghan, AHMM

amongst others….</itunes:summary>
      <itunes:subtitle>Every year, the great and the good of the British architecture scene gather to find out who will be crowned with the award for the best  building in the UK. The final shortlist features six projects, which have been whittled down from hundreds of submissi</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #36 The Picturesque #1: Representation And Architecture</title>
      <itunes:episode>24</itunes:episode>
      <podcast:episode>24</podcast:episode>
      <itunes:title>Negroni Talk #36 The Picturesque #1: Representation And Architecture</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1392050230</guid>
      <link>https://share.transistor.fm/s/7c468c3f</link>
      <description>
        <![CDATA[The history of architectural image making is ancient and, more often than not, involves a bit of propaganda. Designers have had to communicate their ideas to their paymaster -  be they church, state or wealthy individual - and selling your vision comes with the territory. Fast forward to today and we’re reached a point where renders are so convincing that they can be mistaken for photos of a finished building. You can’t blame people for being suspicious that they’re being conned by a vision of a built environment that can never exist, and there is a lot of cynicism within the #RenderVsReality discussions on social media. But does the fault lie with the 'deceptive' image or the value engineering that later comes with the act of construction? 

There are currently some architects who would rather park the glossy, corporate-looking computer creations and focus on painterly landscapes with a cloudy Constable sky or adopt a Hockney-esque pastel palette with flattened planes. These drawings are works of art in of themselves, which could call into question their accuracy at describing the 3-dimensional actualities of lived in space. Has there ever been a ‘truthful’ depiction of a work of architecture though? Surely images will always be a 'representation' of reality and therefore fallible for all sorts of reasons. Virtual reality offers us a more immersive environment that could enforce a greater honesty, however this too is susceptible to visual tinkering and there are sensory limitations within the haptic technology ‘experience’. (i.e no sound, no smell etc). 

You have to ask who architectural images are made for and how they’re being deployed. Are they used to gain political support, permission to build, sell a place to live/work or are they just created to be a nice drawing? And what happens when the fashions for certain styles of renders start to affect the production of architecture itself? Where do we draw the line?

Featuring:

Charles Holland, Charles Holland Architects (chair)
Mary Duggan, Mary Duggan Architects
Yẹmí Aládérun, Enfield Council
David Knight, DK-CM
Hanna Afolabi, Mood and Space                                                                                                                                                       Jan Bunge, Squint/Opera   

amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[The history of architectural image making is ancient and, more often than not, involves a bit of propaganda. Designers have had to communicate their ideas to their paymaster -  be they church, state or wealthy individual - and selling your vision comes with the territory. Fast forward to today and we’re reached a point where renders are so convincing that they can be mistaken for photos of a finished building. You can’t blame people for being suspicious that they’re being conned by a vision of a built environment that can never exist, and there is a lot of cynicism within the #RenderVsReality discussions on social media. But does the fault lie with the 'deceptive' image or the value engineering that later comes with the act of construction? 

There are currently some architects who would rather park the glossy, corporate-looking computer creations and focus on painterly landscapes with a cloudy Constable sky or adopt a Hockney-esque pastel palette with flattened planes. These drawings are works of art in of themselves, which could call into question their accuracy at describing the 3-dimensional actualities of lived in space. Has there ever been a ‘truthful’ depiction of a work of architecture though? Surely images will always be a 'representation' of reality and therefore fallible for all sorts of reasons. Virtual reality offers us a more immersive environment that could enforce a greater honesty, however this too is susceptible to visual tinkering and there are sensory limitations within the haptic technology ‘experience’. (i.e no sound, no smell etc). 

You have to ask who architectural images are made for and how they’re being deployed. Are they used to gain political support, permission to build, sell a place to live/work or are they just created to be a nice drawing? And what happens when the fashions for certain styles of renders start to affect the production of architecture itself? Where do we draw the line?

Featuring:

Charles Holland, Charles Holland Architects (chair)
Mary Duggan, Mary Duggan Architects
Yẹmí Aládérun, Enfield Council
David Knight, DK-CM
Hanna Afolabi, Mood and Space                                                                                                                                                       Jan Bunge, Squint/Opera   

amongst others….]]>
      </content:encoded>
      <pubDate>Mon, 28 Nov 2022 16:17:18 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/7c468c3f/57349749.mp3" length="102560661" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/8eo8KgoHtj5ah17Iqs1p6e6dx24cluvnv_UbxNv1XTA/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS8xMmEy/NzExOGQxZTgzYjI2/OGE2ZmFjMmU5ZDA3/YTZhYi5qcGc.jpg"/>
      <itunes:duration>6410</itunes:duration>
      <itunes:summary>The history of architectural image making is ancient and, more often than not, involves a bit of propaganda. Designers have had to communicate their ideas to their paymaster -  be they church, state or wealthy individual - and selling your vision comes with the territory. Fast forward to today and we’re reached a point where renders are so convincing that they can be mistaken for photos of a finished building. You can’t blame people for being suspicious that they’re being conned by a vision of a built environment that can never exist, and there is a lot of cynicism within the #RenderVsReality discussions on social media. But does the fault lie with the 'deceptive' image or the value engineering that later comes with the act of construction? 

There are currently some architects who would rather park the glossy, corporate-looking computer creations and focus on painterly landscapes with a cloudy Constable sky or adopt a Hockney-esque pastel palette with flattened planes. These drawings are works of art in of themselves, which could call into question their accuracy at describing the 3-dimensional actualities of lived in space. Has there ever been a ‘truthful’ depiction of a work of architecture though? Surely images will always be a 'representation' of reality and therefore fallible for all sorts of reasons. Virtual reality offers us a more immersive environment that could enforce a greater honesty, however this too is susceptible to visual tinkering and there are sensory limitations within the haptic technology ‘experience’. (i.e no sound, no smell etc). 

You have to ask who architectural images are made for and how they’re being deployed. Are they used to gain political support, permission to build, sell a place to live/work or are they just created to be a nice drawing? And what happens when the fashions for certain styles of renders start to affect the production of architecture itself? Where do we draw the line?

Featuring:

Charles Holland, Charles Holland Architects (chair)
Mary Duggan, Mary Duggan Architects
Yẹmí Aládérun, Enfield Council
David Knight, DK-CM
Hanna Afolabi, Mood and Space                                                                                                                                                       Jan Bunge, Squint/Opera   

amongst others….</itunes:summary>
      <itunes:subtitle>The history of architectural image making is ancient and, more often than not, involves a bit of propaganda. Designers have had to communicate their ideas to their paymaster -  be they church, state or wealthy individual - and selling your vision comes wi</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talks #35 Bjarking Up The Wrong Tree 24th May 2022</title>
      <itunes:episode>23</itunes:episode>
      <podcast:episode>23</podcast:episode>
      <itunes:title>Negroni Talks #35 Bjarking Up The Wrong Tree 24th May 2022</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1277778661</guid>
      <link>https://share.transistor.fm/s/6827232e</link>
      <description>
        <![CDATA[Bjarking Up The Wrong Tree: STARCHITECTURE And The Role Of The Architect In The C21st

The architect as a one-off design genius, an exploder of convention and an instigator of progressive thinking was a character forged in the late 19th and early 20th centuries. As the millennium drew to a close, the personality of the ‘Starchitect’ arose as a provider of headline grabbing architecture that could sprinkle regenerative fairy dust anywhere in the world. It became doctrine that neighbourhoods and cities could easily have their fortunes turned around thanks in part, to a noticeably new and shiny addition to their built landscape. The designers involved were in turn feted as ‘visionaries’ that could travel the globe and think up new and improved ways for us to live, work and relax.

We seem now to be fully immersed in a second age of the Starchitect, with designers continuing to use expressive forms to create awe, delight and sometimes disgust. In a visual culture dominated by slick renders, glossy photos and instagram feeds, they trade on an ability to sell a place as desirable &amp; unmissable and it seems there is no such thing as bad publicity. However, uncertainties persist with what one suspects may be a fountainhead-individualism backed up by dramatic diagrams, strong styling and a branded presentation of architecture. Much of this work aims to produce innovative structures that offer progress to Design as a whole, however are the claims of their transformative power and place-making potential actually proven in reality? Additionally, what space is there for those non-headline design acts producing a notably quieter architecture that is designed with and for local communities?

A quarter of a century in, we can no longer ignore the pressing demands of the 21st century, the climate emergency and the fact that social inequality is growing rather than shrinking. What is the role of ‘celebrity’ hotshot designers as the Earth heats and the cost of living rises? With the increasing sense that current solutions lie somewhere between those of substance and those of the snake oil seller, are such architects championing groundbreaking sustainable structures that will reshape the built environment as we know it, or are they just continuing their role as dissociated decorators of the urban landscape? 

Starchitects appear united by their ability to charm developers and seduce investors. How can they best wield this influence to create a better, more equitable society? Or is it high time we did away with the Starchitect altogether? After all, it’s all sooo last century!!!!

Featuring:

Rob Fiehn (chair)
Manijeh Verghese, AA School
Joy Nazzari, dn&amp;co
Will Jennings, Artist &amp; Writer
Patrik Schumacher, Zaha Hadid Architects

amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[Bjarking Up The Wrong Tree: STARCHITECTURE And The Role Of The Architect In The C21st

The architect as a one-off design genius, an exploder of convention and an instigator of progressive thinking was a character forged in the late 19th and early 20th centuries. As the millennium drew to a close, the personality of the ‘Starchitect’ arose as a provider of headline grabbing architecture that could sprinkle regenerative fairy dust anywhere in the world. It became doctrine that neighbourhoods and cities could easily have their fortunes turned around thanks in part, to a noticeably new and shiny addition to their built landscape. The designers involved were in turn feted as ‘visionaries’ that could travel the globe and think up new and improved ways for us to live, work and relax.

We seem now to be fully immersed in a second age of the Starchitect, with designers continuing to use expressive forms to create awe, delight and sometimes disgust. In a visual culture dominated by slick renders, glossy photos and instagram feeds, they trade on an ability to sell a place as desirable &amp; unmissable and it seems there is no such thing as bad publicity. However, uncertainties persist with what one suspects may be a fountainhead-individualism backed up by dramatic diagrams, strong styling and a branded presentation of architecture. Much of this work aims to produce innovative structures that offer progress to Design as a whole, however are the claims of their transformative power and place-making potential actually proven in reality? Additionally, what space is there for those non-headline design acts producing a notably quieter architecture that is designed with and for local communities?

A quarter of a century in, we can no longer ignore the pressing demands of the 21st century, the climate emergency and the fact that social inequality is growing rather than shrinking. What is the role of ‘celebrity’ hotshot designers as the Earth heats and the cost of living rises? With the increasing sense that current solutions lie somewhere between those of substance and those of the snake oil seller, are such architects championing groundbreaking sustainable structures that will reshape the built environment as we know it, or are they just continuing their role as dissociated decorators of the urban landscape? 

Starchitects appear united by their ability to charm developers and seduce investors. How can they best wield this influence to create a better, more equitable society? Or is it high time we did away with the Starchitect altogether? After all, it’s all sooo last century!!!!

Featuring:

Rob Fiehn (chair)
Manijeh Verghese, AA School
Joy Nazzari, dn&amp;co
Will Jennings, Artist &amp; Writer
Patrik Schumacher, Zaha Hadid Architects

amongst others….]]>
      </content:encoded>
      <pubDate>Mon, 30 May 2022 11:45:17 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/6827232e/0c8aa008.mp3" length="83475799" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/41Adj-YRVegAjMwNNkB5N5uy9aDmH44vuhdjVjpAVWk/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS83OTM2/Nzk2NDc0ZTNhNTQ3/YzNhMDY1MTQzY2Zi/YjJkYy5qcGc.jpg"/>
      <itunes:duration>5218</itunes:duration>
      <itunes:summary>Bjarking Up The Wrong Tree: STARCHITECTURE And The Role Of The Architect In The C21st

The architect as a one-off design genius, an exploder of convention and an instigator of progressive thinking was a character forged in the late 19th and early 20th centuries. As the millennium drew to a close, the personality of the ‘Starchitect’ arose as a provider of headline grabbing architecture that could sprinkle regenerative fairy dust anywhere in the world. It became doctrine that neighbourhoods and cities could easily have their fortunes turned around thanks in part, to a noticeably new and shiny addition to their built landscape. The designers involved were in turn feted as ‘visionaries’ that could travel the globe and think up new and improved ways for us to live, work and relax.

We seem now to be fully immersed in a second age of the Starchitect, with designers continuing to use expressive forms to create awe, delight and sometimes disgust. In a visual culture dominated by slick renders, glossy photos and instagram feeds, they trade on an ability to sell a place as desirable &amp;amp; unmissable and it seems there is no such thing as bad publicity. However, uncertainties persist with what one suspects may be a fountainhead-individualism backed up by dramatic diagrams, strong styling and a branded presentation of architecture. Much of this work aims to produce innovative structures that offer progress to Design as a whole, however are the claims of their transformative power and place-making potential actually proven in reality? Additionally, what space is there for those non-headline design acts producing a notably quieter architecture that is designed with and for local communities?

A quarter of a century in, we can no longer ignore the pressing demands of the 21st century, the climate emergency and the fact that social inequality is growing rather than shrinking. What is the role of ‘celebrity’ hotshot designers as the Earth heats and the cost of living rises? With the increasing sense that current solutions lie somewhere between those of substance and those of the snake oil seller, are such architects championing groundbreaking sustainable structures that will reshape the built environment as we know it, or are they just continuing their role as dissociated decorators of the urban landscape? 

Starchitects appear united by their ability to charm developers and seduce investors. How can they best wield this influence to create a better, more equitable society? Or is it high time we did away with the Starchitect altogether? After all, it’s all sooo last century!!!!

Featuring:

Rob Fiehn (chair)
Manijeh Verghese, AA School
Joy Nazzari, dn&amp;amp;co
Will Jennings, Artist &amp;amp; Writer
Patrik Schumacher, Zaha Hadid Architects

amongst others….</itunes:summary>
      <itunes:subtitle>Bjarking Up The Wrong Tree: STARCHITECTURE And The Role Of The Architect In The C21st

The architect as a one-off design genius, an exploder of convention and an instigator of progressive thinking was a character forged in the late 19th and early 20th cen</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #34 - 26th April 2022  Diverse By Design</title>
      <itunes:episode>22</itunes:episode>
      <podcast:episode>22</podcast:episode>
      <itunes:title>Negroni Talk #34 - 26th April 2022  Diverse By Design</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1258533703</guid>
      <link>https://share.transistor.fm/s/3496679d</link>
      <description>
        <![CDATA[Many architects and developers talk the talk but can we actually deliver diversity through design? We’re seeing some great new neighbourhoods emerging across both the UK and abroad but the commercial pressures of regeneration tend to steer us towards homogeneity. And how much can the planing process help support the creation of unplanned places, where richness and variety is often found? 

‘Branded experiences’ can be delivered by disparate forms and snazzy exteriors, which are then united by equally aesthetically-driven public/private realm. But is there a nagging formulaic familiarity behind the facade? Is the suffocating sameness of developments the result of too much design? 

The elephant in the room is of course the motivation to  ensure the necessary financial returns on large-scale investments. Unsurprisingly then, it is the type of building, type of use and type of user that will guarantee this return, which is the going concern. The definitions of who these new urban quarters are ‘created for’ remains pre-qualified and very narrow indeed. Inclusivity is exclusive. Public becomes private. 

There are growing demands of promoting diversity, with a collective ambition to move towards a non-discriminatory world. With this in mind, should there be such a  thing as architecture that is orientated toward specific demographic groups? 
Featuring:

Kat Hanna (chair)
Helen Arvanitakis, Design District
Anna Shapiro, AA Housing &amp; Urbanism
Roger Zogolovitch, Solidspace
Pedro Gil, Studio Gil                                                                                                                                                 

amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[Many architects and developers talk the talk but can we actually deliver diversity through design? We’re seeing some great new neighbourhoods emerging across both the UK and abroad but the commercial pressures of regeneration tend to steer us towards homogeneity. And how much can the planing process help support the creation of unplanned places, where richness and variety is often found? 

‘Branded experiences’ can be delivered by disparate forms and snazzy exteriors, which are then united by equally aesthetically-driven public/private realm. But is there a nagging formulaic familiarity behind the facade? Is the suffocating sameness of developments the result of too much design? 

The elephant in the room is of course the motivation to  ensure the necessary financial returns on large-scale investments. Unsurprisingly then, it is the type of building, type of use and type of user that will guarantee this return, which is the going concern. The definitions of who these new urban quarters are ‘created for’ remains pre-qualified and very narrow indeed. Inclusivity is exclusive. Public becomes private. 

There are growing demands of promoting diversity, with a collective ambition to move towards a non-discriminatory world. With this in mind, should there be such a  thing as architecture that is orientated toward specific demographic groups? 
Featuring:

Kat Hanna (chair)
Helen Arvanitakis, Design District
Anna Shapiro, AA Housing &amp; Urbanism
Roger Zogolovitch, Solidspace
Pedro Gil, Studio Gil                                                                                                                                                 

amongst others….]]>
      </content:encoded>
      <pubDate>Thu, 28 Apr 2022 11:34:31 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/3496679d/5a18d9a2.mp3" length="93019056" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/g0ksU1-IdqpCiXF7IR3eleErOZ3JjT_WYHq-INfKk3A/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS8zODdj/YWFlYWQ2ZjdjYWIz/ZjBmMTI1NTBiM2E4/NGYyOC5qcGc.jpg"/>
      <itunes:duration>5814</itunes:duration>
      <itunes:summary>Many architects and developers talk the talk but can we actually deliver diversity through design? We’re seeing some great new neighbourhoods emerging across both the UK and abroad but the commercial pressures of regeneration tend to steer us towards homogeneity. And how much can the planing process help support the creation of unplanned places, where richness and variety is often found? 

‘Branded experiences’ can be delivered by disparate forms and snazzy exteriors, which are then united by equally aesthetically-driven public/private realm. But is there a nagging formulaic familiarity behind the facade? Is the suffocating sameness of developments the result of too much design? 

The elephant in the room is of course the motivation to  ensure the necessary financial returns on large-scale investments. Unsurprisingly then, it is the type of building, type of use and type of user that will guarantee this return, which is the going concern. The definitions of who these new urban quarters are ‘created for’ remains pre-qualified and very narrow indeed. Inclusivity is exclusive. Public becomes private. 

There are growing demands of promoting diversity, with a collective ambition to move towards a non-discriminatory world. With this in mind, should there be such a  thing as architecture that is orientated toward specific demographic groups? 
Featuring:

Kat Hanna (chair)
Helen Arvanitakis, Design District
Anna Shapiro, AA Housing &amp;amp; Urbanism
Roger Zogolovitch, Solidspace
Pedro Gil, Studio Gil                                                                                                                                                 

amongst others….</itunes:summary>
      <itunes:subtitle>Many architects and developers talk the talk but can we actually deliver diversity through design? We’re seeing some great new neighbourhoods emerging across both the UK and abroad but the commercial pressures of regeneration tend to steer us towards homo</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #33 Talking Shop! INSULATION</title>
      <itunes:episode>21</itunes:episode>
      <podcast:episode>21</podcast:episode>
      <itunes:title>Negroni Talk #33 Talking Shop! INSULATION</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1250036509</guid>
      <link>https://share.transistor.fm/s/294f0695</link>
      <description>
        <![CDATA[Energy is a consumption that is killing us by degrees. Its production, usage and waste have long been a threat to the natural world and as a commodity it is now being deployed as a weapon of war. 

Energy has become a battleground between C20th business models and C21st realities. It trades in cynicism, malevolence and greed. Worse still it illustrates our hubris, our impotence, the compromise of our moral standing and our lack of a truly reforming vision for the future. The lights may be on, but is anyone actually at home? 

Guilty of a dereliction of duty, global governments have taken the easy option of dealing in imports instead of relying on self-sufficiency. They have led us down the dead-end-street of a compromised dependency on dwindling fossil fuels, rather than boldly committing to comprehensive renewable strategies. In securing supply at any cost and unwilling to countenance a disruption to our way of life, politicians have centralized our power in other people hands. With whole populations held hostage by investors and lobbyists whose interests are protected through policy, oil, gas and coal industries have us all literally over a barrel.

So what of architecture in these disingenuous times? The pre-occupations of the creative design professional can seem hopelessly out of touch in the face of such seismic issues. However, the built environment IS a key factor in setting out what our energy requirements actually are and so determines levels of Demand, which in turn defines what the Supply is. 

Sadly there is a great deal of medieval thinking at work in the building of our buildings. Take our great British house-building industry, which kills off progressive thought and whose response is to skyrocket costs at the merest suggestion of any upgrade in building specification or performance criteria. Some 60 years ago, people went into space with nothing more than some glorified tin foil between them and the ultimate of all inhospitable environments, and yet back here on Earth we more often messily muddle through using minor modifications to tried and tested methods.

When it comes to insulation, there is a clear economic tug of war between the floor area of buildings and the thickness of building envelope. Thinner insulation is more expensive and so a desire to build cheaply leads to less space in which to live. Questions about what we ‘value’ are therefore pertinent. With rising energy bills and the worsening cost of living forced on society at large, will the general public start to demand higher standards &amp; revolutionary change, or will the profiteering of energy companies be allowed to continue as they are, aided by high usage linked to poor performance of building fabric? 

As insulation campaigners are vilified by the establishment, where is the collective will to fully explore holistic solutions to THE major issue facing the built environment today? With poorly serviced/insulated housing stock stubbornly accounting for 15% of UK greenhouse gas emissions, do we have any other choice but to make urgent changes as quickly as possible?

Featuring:

Will Ing, Architects' Journal (chair)
Kunle Barker, Property Expert, Writer &amp; Broadcaster
Cameron Ford, Insulate Britain
Tanvir Hasan, Donald Insall Associates
Summer Islam, Material Cultures                                                                                                                                                       Tim O'Callaghan, nimtim architects     

amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[Energy is a consumption that is killing us by degrees. Its production, usage and waste have long been a threat to the natural world and as a commodity it is now being deployed as a weapon of war. 

Energy has become a battleground between C20th business models and C21st realities. It trades in cynicism, malevolence and greed. Worse still it illustrates our hubris, our impotence, the compromise of our moral standing and our lack of a truly reforming vision for the future. The lights may be on, but is anyone actually at home? 

Guilty of a dereliction of duty, global governments have taken the easy option of dealing in imports instead of relying on self-sufficiency. They have led us down the dead-end-street of a compromised dependency on dwindling fossil fuels, rather than boldly committing to comprehensive renewable strategies. In securing supply at any cost and unwilling to countenance a disruption to our way of life, politicians have centralized our power in other people hands. With whole populations held hostage by investors and lobbyists whose interests are protected through policy, oil, gas and coal industries have us all literally over a barrel.

So what of architecture in these disingenuous times? The pre-occupations of the creative design professional can seem hopelessly out of touch in the face of such seismic issues. However, the built environment IS a key factor in setting out what our energy requirements actually are and so determines levels of Demand, which in turn defines what the Supply is. 

Sadly there is a great deal of medieval thinking at work in the building of our buildings. Take our great British house-building industry, which kills off progressive thought and whose response is to skyrocket costs at the merest suggestion of any upgrade in building specification or performance criteria. Some 60 years ago, people went into space with nothing more than some glorified tin foil between them and the ultimate of all inhospitable environments, and yet back here on Earth we more often messily muddle through using minor modifications to tried and tested methods.

When it comes to insulation, there is a clear economic tug of war between the floor area of buildings and the thickness of building envelope. Thinner insulation is more expensive and so a desire to build cheaply leads to less space in which to live. Questions about what we ‘value’ are therefore pertinent. With rising energy bills and the worsening cost of living forced on society at large, will the general public start to demand higher standards &amp; revolutionary change, or will the profiteering of energy companies be allowed to continue as they are, aided by high usage linked to poor performance of building fabric? 

As insulation campaigners are vilified by the establishment, where is the collective will to fully explore holistic solutions to THE major issue facing the built environment today? With poorly serviced/insulated housing stock stubbornly accounting for 15% of UK greenhouse gas emissions, do we have any other choice but to make urgent changes as quickly as possible?

Featuring:

Will Ing, Architects' Journal (chair)
Kunle Barker, Property Expert, Writer &amp; Broadcaster
Cameron Ford, Insulate Britain
Tanvir Hasan, Donald Insall Associates
Summer Islam, Material Cultures                                                                                                                                                       Tim O'Callaghan, nimtim architects     

amongst others….]]>
      </content:encoded>
      <pubDate>Thu, 14 Apr 2022 12:35:45 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/294f0695/9d7d7ff1.mp3" length="80535021" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/tNGxmv5kFwES6iVvoJY2LRdt_MRzep2YcSQLlsetsgE/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS80ZTYy/YWU5NWE2MWE5MDM3/ZWNhY2IxNjRiMjI5/ZjMxOS5qcGc.jpg"/>
      <itunes:duration>5034</itunes:duration>
      <itunes:summary>Energy is a consumption that is killing us by degrees. Its production, usage and waste have long been a threat to the natural world and as a commodity it is now being deployed as a weapon of war. 

Energy has become a battleground between C20th business models and C21st realities. It trades in cynicism, malevolence and greed. Worse still it illustrates our hubris, our impotence, the compromise of our moral standing and our lack of a truly reforming vision for the future. The lights may be on, but is anyone actually at home? 

Guilty of a dereliction of duty, global governments have taken the easy option of dealing in imports instead of relying on self-sufficiency. They have led us down the dead-end-street of a compromised dependency on dwindling fossil fuels, rather than boldly committing to comprehensive renewable strategies. In securing supply at any cost and unwilling to countenance a disruption to our way of life, politicians have centralized our power in other people hands. With whole populations held hostage by investors and lobbyists whose interests are protected through policy, oil, gas and coal industries have us all literally over a barrel.

So what of architecture in these disingenuous times? The pre-occupations of the creative design professional can seem hopelessly out of touch in the face of such seismic issues. However, the built environment IS a key factor in setting out what our energy requirements actually are and so determines levels of Demand, which in turn defines what the Supply is. 

Sadly there is a great deal of medieval thinking at work in the building of our buildings. Take our great British house-building industry, which kills off progressive thought and whose response is to skyrocket costs at the merest suggestion of any upgrade in building specification or performance criteria. Some 60 years ago, people went into space with nothing more than some glorified tin foil between them and the ultimate of all inhospitable environments, and yet back here on Earth we more often messily muddle through using minor modifications to tried and tested methods.

When it comes to insulation, there is a clear economic tug of war between the floor area of buildings and the thickness of building envelope. Thinner insulation is more expensive and so a desire to build cheaply leads to less space in which to live. Questions about what we ‘value’ are therefore pertinent. With rising energy bills and the worsening cost of living forced on society at large, will the general public start to demand higher standards &amp;amp; revolutionary change, or will the profiteering of energy companies be allowed to continue as they are, aided by high usage linked to poor performance of building fabric? 

As insulation campaigners are vilified by the establishment, where is the collective will to fully explore holistic solutions to THE major issue facing the built environment today? With poorly serviced/insulated housing stock stubbornly accounting for 15% of UK greenhouse gas emissions, do we have any other choice but to make urgent changes as quickly as possible?

Featuring:

Will Ing, Architects' Journal (chair)
Kunle Barker, Property Expert, Writer &amp;amp; Broadcaster
Cameron Ford, Insulate Britain
Tanvir Hasan, Donald Insall Associates
Summer Islam, Material Cultures                                                                                                                                                       Tim O'Callaghan, nimtim architects     

amongst others….</itunes:summary>
      <itunes:subtitle>Energy is a consumption that is killing us by degrees. Its production, usage and waste have long been a threat to the natural world and as a commodity it is now being deployed as a weapon of war. 

Energy has become a battleground between C20th business m</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #32</title>
      <itunes:episode>20</itunes:episode>
      <podcast:episode>20</podcast:episode>
      <itunes:title>Negroni Talk #32</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1218170662</guid>
      <link>https://share.transistor.fm/s/e3d34c6c</link>
      <description>
        <![CDATA[Talking Rubbish! BINS

Local authorities have bin going mad! Whilst many architects, urban planners, housing associations and developers try to design the homes, towns and cities of the future, they are frequently hamstrung by the regulatory hurdles that are focused on the accommodation of waste management. Giant wheelie bins fill our pavements, louvered doors dominate pavement frontages, and the spaces of our streets are oriented around the turning circle of a rubbish truck. 

With a lack of clear planning policy, it seems that the mundane and everyday has taken control of the creative place making involved in housing design, pushing us towards sterile blocks, with paved wastelands between home and curb. Things were not always this way though, and there are some who refuse to accept refuse; those who are willing to fight for a ‘less rubbish’ and cleaner future. How can we extricate ourselves from the debris of bureaucracy and create places that are designed around how we want to live rather than where we put the recycling? It’s time for some trash talk! 

Featuring:

Will Sandy, Will Sandy Design Studio (Chair)
Cany Ash, Ash Sakula
Jas Bhalla, Jas Bhalla Architects
David Milner, Create Streets
Chloe Phelps, Grounded                                                                                                                                                            Ander Zabala, Hackney Council

amongst others….

On The Night….]]>
      </description>
      <content:encoded>
        <![CDATA[Talking Rubbish! BINS

Local authorities have bin going mad! Whilst many architects, urban planners, housing associations and developers try to design the homes, towns and cities of the future, they are frequently hamstrung by the regulatory hurdles that are focused on the accommodation of waste management. Giant wheelie bins fill our pavements, louvered doors dominate pavement frontages, and the spaces of our streets are oriented around the turning circle of a rubbish truck. 

With a lack of clear planning policy, it seems that the mundane and everyday has taken control of the creative place making involved in housing design, pushing us towards sterile blocks, with paved wastelands between home and curb. Things were not always this way though, and there are some who refuse to accept refuse; those who are willing to fight for a ‘less rubbish’ and cleaner future. How can we extricate ourselves from the debris of bureaucracy and create places that are designed around how we want to live rather than where we put the recycling? It’s time for some trash talk! 

Featuring:

Will Sandy, Will Sandy Design Studio (Chair)
Cany Ash, Ash Sakula
Jas Bhalla, Jas Bhalla Architects
David Milner, Create Streets
Chloe Phelps, Grounded                                                                                                                                                            Ander Zabala, Hackney Council

amongst others….

On The Night….]]>
      </content:encoded>
      <pubDate>Fri, 18 Feb 2022 11:13:45 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/e3d34c6c/869c9c51.mp3" length="69478722" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/s8bUVxlNLsl75L514sRZ3TknJnZWxTt4ytytFeoDxVA/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS84MTcx/YmYzZWM1OWJhNDAw/NTZkY2Y3NzFkMDU4/ODk4NC5qcGc.jpg"/>
      <itunes:duration>4343</itunes:duration>
      <itunes:summary>Talking Rubbish! BINS

Local authorities have bin going mad! Whilst many architects, urban planners, housing associations and developers try to design the homes, towns and cities of the future, they are frequently hamstrung by the regulatory hurdles that are focused on the accommodation of waste management. Giant wheelie bins fill our pavements, louvered doors dominate pavement frontages, and the spaces of our streets are oriented around the turning circle of a rubbish truck. 

With a lack of clear planning policy, it seems that the mundane and everyday has taken control of the creative place making involved in housing design, pushing us towards sterile blocks, with paved wastelands between home and curb. Things were not always this way though, and there are some who refuse to accept refuse; those who are willing to fight for a ‘less rubbish’ and cleaner future. How can we extricate ourselves from the debris of bureaucracy and create places that are designed around how we want to live rather than where we put the recycling? It’s time for some trash talk! 

Featuring:

Will Sandy, Will Sandy Design Studio (Chair)
Cany Ash, Ash Sakula
Jas Bhalla, Jas Bhalla Architects
David Milner, Create Streets
Chloe Phelps, Grounded                                                                                                                                                            Ander Zabala, Hackney Council

amongst others….

On The Night….</itunes:summary>
      <itunes:subtitle>Talking Rubbish! BINS

Local authorities have bin going mad! Whilst many architects, urban planners, housing associations and developers try to design the homes, towns and cities of the future, they are frequently hamstrung by the regulatory hurdles that </itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #31 - 19th October 2021</title>
      <itunes:episode>19</itunes:episode>
      <podcast:episode>19</podcast:episode>
      <itunes:title>Negroni Talk #31 - 19th October 2021</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1156815085</guid>
      <link>https://share.transistor.fm/s/d60b59be</link>
      <description>
        <![CDATA[Death By Design
Construction has always been a dangerous (read: corrupt) game and it seems that the bigger the project, the greater the risks to workers’ safety. Fatalities on building sites were maybe to be expected in the dim and distant past, but in the 21st century haven’t we developed sufficient regulatory control, machinery or digital technologies to rule out death by architecture? 

This debate has resurfaced recently as some (football) players and activists have urged a boycott of the Qatar 2022 World Cup because of the treatment of migrant workers, who have been plunged into a form of contemporary slavery, with little regard for their lives. 

Zaha Hadid famously stated that architects have "nothing to do with the  workers", despite a series of exposes in recent years and accusations of cover-ups about the scale of building site mortality rates. More broadly, the profession seems to claim ignorance and deny knowledge of scandals like the one surrounding the construction site of Istanbul Airport - so bad it was dubbed ‘the cemetery’ - whilst enjoying the publicity and rewards that these projects bring them.

All of this begs a  question over who is responsible? What is the role of the architectural profession when it comes to worker safety and where do you draw the line as the designer of a building that could likely result in hundreds or thousands of deaths? Shouldn’t architects publicly denounce their clients when they are seen to have suspect ethical standards, or is keeping quiet in order to help secure work more important?

Featuring:

Dr Ruth Lang (chair)
David Ogunmuyiwa, ArchitectureDoingPlace
Dr Ariana Markowitz, The Bartlett Development Planning Unit
Isobel Archer, Business &amp; Human Rights Resource Centre
amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[Death By Design
Construction has always been a dangerous (read: corrupt) game and it seems that the bigger the project, the greater the risks to workers’ safety. Fatalities on building sites were maybe to be expected in the dim and distant past, but in the 21st century haven’t we developed sufficient regulatory control, machinery or digital technologies to rule out death by architecture? 

This debate has resurfaced recently as some (football) players and activists have urged a boycott of the Qatar 2022 World Cup because of the treatment of migrant workers, who have been plunged into a form of contemporary slavery, with little regard for their lives. 

Zaha Hadid famously stated that architects have "nothing to do with the  workers", despite a series of exposes in recent years and accusations of cover-ups about the scale of building site mortality rates. More broadly, the profession seems to claim ignorance and deny knowledge of scandals like the one surrounding the construction site of Istanbul Airport - so bad it was dubbed ‘the cemetery’ - whilst enjoying the publicity and rewards that these projects bring them.

All of this begs a  question over who is responsible? What is the role of the architectural profession when it comes to worker safety and where do you draw the line as the designer of a building that could likely result in hundreds or thousands of deaths? Shouldn’t architects publicly denounce their clients when they are seen to have suspect ethical standards, or is keeping quiet in order to help secure work more important?

Featuring:

Dr Ruth Lang (chair)
David Ogunmuyiwa, ArchitectureDoingPlace
Dr Ariana Markowitz, The Bartlett Development Planning Unit
Isobel Archer, Business &amp; Human Rights Resource Centre
amongst others….]]>
      </content:encoded>
      <pubDate>Tue, 09 Nov 2021 12:31:57 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/d60b59be/2da6f9bc.mp3" length="80297197" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/YuD6yXyRUKR9l_xQGJ6AkERh4yXgWHplPKXxjoQ8gMU/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9mOTg3/MTQ0OTNkNWNmZTJk/MDQ5MTc5NTU3YWY0/MGNhZC5qcGc.jpg"/>
      <itunes:duration>5019</itunes:duration>
      <itunes:summary>Death By Design
Construction has always been a dangerous (read: corrupt) game and it seems that the bigger the project, the greater the risks to workers’ safety. Fatalities on building sites were maybe to be expected in the dim and distant past, but in the 21st century haven’t we developed sufficient regulatory control, machinery or digital technologies to rule out death by architecture? 

This debate has resurfaced recently as some (football) players and activists have urged a boycott of the Qatar 2022 World Cup because of the treatment of migrant workers, who have been plunged into a form of contemporary slavery, with little regard for their lives. 

Zaha Hadid famously stated that architects have "nothing to do with the  workers", despite a series of exposes in recent years and accusations of cover-ups about the scale of building site mortality rates. More broadly, the profession seems to claim ignorance and deny knowledge of scandals like the one surrounding the construction site of Istanbul Airport - so bad it was dubbed ‘the cemetery’ - whilst enjoying the publicity and rewards that these projects bring them.

All of this begs a  question over who is responsible? What is the role of the architectural profession when it comes to worker safety and where do you draw the line as the designer of a building that could likely result in hundreds or thousands of deaths? Shouldn’t architects publicly denounce their clients when they are seen to have suspect ethical standards, or is keeping quiet in order to help secure work more important?

Featuring:

Dr Ruth Lang (chair)
David Ogunmuyiwa, ArchitectureDoingPlace
Dr Ariana Markowitz, The Bartlett Development Planning Unit
Isobel Archer, Business &amp;amp; Human Rights Resource Centre
amongst others….</itunes:summary>
      <itunes:subtitle>Death By Design
Construction has always been a dangerous (read: corrupt) game and it seems that the bigger the project, the greater the risks to workers’ safety. Fatalities on building sites were maybe to be expected in the dim and distant past, but in th</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #30 - 29th April 2021</title>
      <itunes:episode>18</itunes:episode>
      <podcast:episode>18</podcast:episode>
      <itunes:title>Negroni Talk #30 - 29th April 2021</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1046270932</guid>
      <link>https://share.transistor.fm/s/bd63173b</link>
      <description>
        <![CDATA[Architecture: Structuring Segregation?

Poor Doors have hit the headlines are once again aimed at escalating levels of outrage, declaring that modern housing developments  promote segregation and social cleansing.

However, we live in a time when cash-strapped councils can’t deliver their own housing programmes and we rely on private developers to provide housing nationwide. With an emphasis on investment returns and the drive to remove all that is deemed to adversely affect market value, certain tenures of housing are considered ‘undesirable’ and something to be reduced through negotiation or worse still, relocated geographically out of sight.

Meanwhile cities remain places of variety, difference and not exclusive to any one group. Across millennia different communities have lived in close proximity to each other where rich and poor live cheek-by-jowl, although instances of cohabitation are  extremely rare. Is the current furore over 'poor doors' more in response to the dehumanising term (itself a journalistic construct), rather than the issues behind labelled and separate building entrances, or is it a part of the housing crisis that we feel in the 21st century should be solvable? 

As Robert Hughes has stated, historically speaking ‘there was no architecture of the poor, all they had was slums’. Are 'poor doors’ not an example of a need for separation that has always been present in the city, or are they a signal that separation legitimises class bias.

Recent reports of a children’s playground being made inaccessible to particular ‘types’ of children within a mixed tenure development is certainly the canary down the coal mine in any debate about levels of segregation and integration. It raises a spectre; that if someone can think about children in such a way, then should they be a defining force when it comes to housing people and creating the places in which we all live? 

We can all agree that we need to build more homes and no one wants to create ghettos with the urban fabric, but in the current climate of free market economics and conservative policy, are separate entrances really a problem and if they are then what other solutions are available that could lead to greater levels of social integration?

Featuring:

Heather Thomas, Sapphire Independent Housing
Dave Hill, On London
Akil Scafe Smith, Resolve Collective
Dinah Bornat, ZCD Architects
amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[Architecture: Structuring Segregation?

Poor Doors have hit the headlines are once again aimed at escalating levels of outrage, declaring that modern housing developments  promote segregation and social cleansing.

However, we live in a time when cash-strapped councils can’t deliver their own housing programmes and we rely on private developers to provide housing nationwide. With an emphasis on investment returns and the drive to remove all that is deemed to adversely affect market value, certain tenures of housing are considered ‘undesirable’ and something to be reduced through negotiation or worse still, relocated geographically out of sight.

Meanwhile cities remain places of variety, difference and not exclusive to any one group. Across millennia different communities have lived in close proximity to each other where rich and poor live cheek-by-jowl, although instances of cohabitation are  extremely rare. Is the current furore over 'poor doors' more in response to the dehumanising term (itself a journalistic construct), rather than the issues behind labelled and separate building entrances, or is it a part of the housing crisis that we feel in the 21st century should be solvable? 

As Robert Hughes has stated, historically speaking ‘there was no architecture of the poor, all they had was slums’. Are 'poor doors’ not an example of a need for separation that has always been present in the city, or are they a signal that separation legitimises class bias.

Recent reports of a children’s playground being made inaccessible to particular ‘types’ of children within a mixed tenure development is certainly the canary down the coal mine in any debate about levels of segregation and integration. It raises a spectre; that if someone can think about children in such a way, then should they be a defining force when it comes to housing people and creating the places in which we all live? 

We can all agree that we need to build more homes and no one wants to create ghettos with the urban fabric, but in the current climate of free market economics and conservative policy, are separate entrances really a problem and if they are then what other solutions are available that could lead to greater levels of social integration?

Featuring:

Heather Thomas, Sapphire Independent Housing
Dave Hill, On London
Akil Scafe Smith, Resolve Collective
Dinah Bornat, ZCD Architects
amongst others….]]>
      </content:encoded>
      <pubDate>Mon, 10 May 2021 17:34:11 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/bd63173b/7de7b07a.mp3" length="110211912" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/zP-SdWt953x2wSvwIuS4xj8xsGe_w-uuE_2o7D8QACM/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS81MjEy/NTRmYTZiNjdiMjll/OTYxMWY1ZjllM2Rl/NTQ2YS5qcGc.jpg"/>
      <itunes:duration>4592</itunes:duration>
      <itunes:summary>Architecture: Structuring Segregation?

Poor Doors have hit the headlines are once again aimed at escalating levels of outrage, declaring that modern housing developments  promote segregation and social cleansing.

However, we live in a time when cash-strapped councils can’t deliver their own housing programmes and we rely on private developers to provide housing nationwide. With an emphasis on investment returns and the drive to remove all that is deemed to adversely affect market value, certain tenures of housing are considered ‘undesirable’ and something to be reduced through negotiation or worse still, relocated geographically out of sight.

Meanwhile cities remain places of variety, difference and not exclusive to any one group. Across millennia different communities have lived in close proximity to each other where rich and poor live cheek-by-jowl, although instances of cohabitation are  extremely rare. Is the current furore over 'poor doors' more in response to the dehumanising term (itself a journalistic construct), rather than the issues behind labelled and separate building entrances, or is it a part of the housing crisis that we feel in the 21st century should be solvable? 

As Robert Hughes has stated, historically speaking ‘there was no architecture of the poor, all they had was slums’. Are 'poor doors’ not an example of a need for separation that has always been present in the city, or are they a signal that separation legitimises class bias.

Recent reports of a children’s playground being made inaccessible to particular ‘types’ of children within a mixed tenure development is certainly the canary down the coal mine in any debate about levels of segregation and integration. It raises a spectre; that if someone can think about children in such a way, then should they be a defining force when it comes to housing people and creating the places in which we all live? 

We can all agree that we need to build more homes and no one wants to create ghettos with the urban fabric, but in the current climate of free market economics and conservative policy, are separate entrances really a problem and if they are then what other solutions are available that could lead to greater levels of social integration?

Featuring:

Heather Thomas, Sapphire Independent Housing
Dave Hill, On London
Akil Scafe Smith, Resolve Collective
Dinah Bornat, ZCD Architects
amongst others….</itunes:summary>
      <itunes:subtitle>Architecture: Structuring Segregation?

Poor Doors have hit the headlines are once again aimed at escalating levels of outrage, declaring that modern housing developments  promote segregation and social cleansing.

However, we live in a time when cash-str</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #29 - 1st April 2021</title>
      <itunes:episode>17</itunes:episode>
      <podcast:episode>17</podcast:episode>
      <itunes:title>Negroni Talk #29 - 1st April 2021</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1028869345</guid>
      <link>https://share.transistor.fm/s/2acad724</link>
      <description>
        <![CDATA[The Airing Architectures Dirty Laundry Series: #03 ARTWASHING

Artists and gentrification already have an uncomfortable relationship. Creative communities have often drifted into less  desirable areas where the rents are much cheaper, making unconscious changes around them and adding a ‘cool factor’ that in turn shifts the perception of a place. This process is old news and developers have cottoned on to the winning formula and sped up the process. 

Depressed areas are now targeted by local authorities and developers for improvement and the first steps usually involve some eye catching murals or pop-up pavilions that become destinations in of themselves. In a digital age, we’ve seen cultural tourists flock to these places for Instagram moments, enjoying the contrast between bold artworks and gritty urban landscapes. 

To distill this cheek-by-jowl affiliation between corporate bodies and artists even further, we are now witnessing a renewed vigour for the commissioning of pieces in or around some of the most bland and unexciting architecture and place-making. Here colourful bricolage or spray-painted ‘street art’ is used to dress up the banal, with little regard for existing communities or local heritage. In these circumstances, how do we apportion blame and complicity between the commissioner and the creative? 

Featuring:

David Michon, Editorial Director (chair)
Will Jennings, Artist &amp; Writer
Fiona Grady, Artist
Seyi Adelekun, Artist/Assemble
Tony Colville, Urban Splash
amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[The Airing Architectures Dirty Laundry Series: #03 ARTWASHING

Artists and gentrification already have an uncomfortable relationship. Creative communities have often drifted into less  desirable areas where the rents are much cheaper, making unconscious changes around them and adding a ‘cool factor’ that in turn shifts the perception of a place. This process is old news and developers have cottoned on to the winning formula and sped up the process. 

Depressed areas are now targeted by local authorities and developers for improvement and the first steps usually involve some eye catching murals or pop-up pavilions that become destinations in of themselves. In a digital age, we’ve seen cultural tourists flock to these places for Instagram moments, enjoying the contrast between bold artworks and gritty urban landscapes. 

To distill this cheek-by-jowl affiliation between corporate bodies and artists even further, we are now witnessing a renewed vigour for the commissioning of pieces in or around some of the most bland and unexciting architecture and place-making. Here colourful bricolage or spray-painted ‘street art’ is used to dress up the banal, with little regard for existing communities or local heritage. In these circumstances, how do we apportion blame and complicity between the commissioner and the creative? 

Featuring:

David Michon, Editorial Director (chair)
Will Jennings, Artist &amp; Writer
Fiona Grady, Artist
Seyi Adelekun, Artist/Assemble
Tony Colville, Urban Splash
amongst others….]]>
      </content:encoded>
      <pubDate>Tue, 13 Apr 2021 18:40:29 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/2acad724/d0a41e6c.mp3" length="123265404" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/_NKr1h--KBXoHYKe43h2t1xOU6ZiDZwq43_G8MXyUiI/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9hZjI3/ZGEzOTAwZDA5MTQ0/NmE1ZjFkYWM0NGEz/NWViMi5qcGc.jpg"/>
      <itunes:duration>5136</itunes:duration>
      <itunes:summary>The Airing Architectures Dirty Laundry Series: #03 ARTWASHING

Artists and gentrification already have an uncomfortable relationship. Creative communities have often drifted into less  desirable areas where the rents are much cheaper, making unconscious changes around them and adding a ‘cool factor’ that in turn shifts the perception of a place. This process is old news and developers have cottoned on to the winning formula and sped up the process. 

Depressed areas are now targeted by local authorities and developers for improvement and the first steps usually involve some eye catching murals or pop-up pavilions that become destinations in of themselves. In a digital age, we’ve seen cultural tourists flock to these places for Instagram moments, enjoying the contrast between bold artworks and gritty urban landscapes. 

To distill this cheek-by-jowl affiliation between corporate bodies and artists even further, we are now witnessing a renewed vigour for the commissioning of pieces in or around some of the most bland and unexciting architecture and place-making. Here colourful bricolage or spray-painted ‘street art’ is used to dress up the banal, with little regard for existing communities or local heritage. In these circumstances, how do we apportion blame and complicity between the commissioner and the creative? 

Featuring:

David Michon, Editorial Director (chair)
Will Jennings, Artist &amp;amp; Writer
Fiona Grady, Artist
Seyi Adelekun, Artist/Assemble
Tony Colville, Urban Splash
amongst others….</itunes:summary>
      <itunes:subtitle>The Airing Architectures Dirty Laundry Series: #03 ARTWASHING

Artists and gentrification already have an uncomfortable relationship. Creative communities have often drifted into less  desirable areas where the rents are much cheaper, making unconscious c</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #28 - 11th March 2021</title>
      <itunes:episode>16</itunes:episode>
      <podcast:episode>16</podcast:episode>
      <itunes:title>Negroni Talk #28 - 11th March 2021</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1011282934</guid>
      <link>https://share.transistor.fm/s/4e06a4a7</link>
      <description>
        <![CDATA[The Airing Architectures Dirty Laundry Series: #02 BAMEWASHING

Of the many massive social upheavals of 2020, the BLM protests made us ask difficult questions about persistent levels of racial inequality  and how many of us are complicit with the current system. 

This has resulted in some positive moves within the built environment, with public sector procurement going through a shake-up. Local authority frameworks are being re-imagined and outspoken critics are getting important airtime. Dare we hope that we might be experiencing a paradigm shift that will lead to communities receiving buildings that are actually designed by people who understand them? Or is it more a case of large practices playing the box-ticking game by tagging on a BAME-led practice to their tender entry?

It’s too early to tell if any of the current initiatives will bring about long-term change. All we can know is that we are in the messy period of transition and that things could easily slip back into existing patterns of privilege and old boy networks. We cannot assume that sticking a diversity plaster on procurement, or an in-practice workshop, will lead to wide-ranging  systemic improvements. BAME isn't a genre of design, so why are developers looking for black excellence when white mediocrity was sufficient up until now? 

Can we bring about a cultural and behavioural revolution that the architecture industry so desperately needs? More importantly how is this done in a competitive market ? And why do so many think it’s not really a problem in the first place? 

Featuring:

Joseph Henry, Sound Advice
Jas Bhalla, Jas Bhalla Architects
Marsha Ramroop, RIBA
Peter George, Meridian Water
Sarah Akigbogun, Studio Aki
amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[The Airing Architectures Dirty Laundry Series: #02 BAMEWASHING

Of the many massive social upheavals of 2020, the BLM protests made us ask difficult questions about persistent levels of racial inequality  and how many of us are complicit with the current system. 

This has resulted in some positive moves within the built environment, with public sector procurement going through a shake-up. Local authority frameworks are being re-imagined and outspoken critics are getting important airtime. Dare we hope that we might be experiencing a paradigm shift that will lead to communities receiving buildings that are actually designed by people who understand them? Or is it more a case of large practices playing the box-ticking game by tagging on a BAME-led practice to their tender entry?

It’s too early to tell if any of the current initiatives will bring about long-term change. All we can know is that we are in the messy period of transition and that things could easily slip back into existing patterns of privilege and old boy networks. We cannot assume that sticking a diversity plaster on procurement, or an in-practice workshop, will lead to wide-ranging  systemic improvements. BAME isn't a genre of design, so why are developers looking for black excellence when white mediocrity was sufficient up until now? 

Can we bring about a cultural and behavioural revolution that the architecture industry so desperately needs? More importantly how is this done in a competitive market ? And why do so many think it’s not really a problem in the first place? 

Featuring:

Joseph Henry, Sound Advice
Jas Bhalla, Jas Bhalla Architects
Marsha Ramroop, RIBA
Peter George, Meridian Water
Sarah Akigbogun, Studio Aki
amongst others….]]>
      </content:encoded>
      <pubDate>Fri, 19 Mar 2021 15:07:48 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/4e06a4a7/08636ac5.mp3" length="136105111" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/HoxAj8HfwunJcsj99IrjmWJ9u1NHVuHmuM4UfAdOots/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS81OWM4/ZDhlZjUyMzViZDhi/NDA1MTkxYjBkZWRj/ODAzOC5qcGc.jpg"/>
      <itunes:duration>5671</itunes:duration>
      <itunes:summary>The Airing Architectures Dirty Laundry Series: #02 BAMEWASHING

Of the many massive social upheavals of 2020, the BLM protests made us ask difficult questions about persistent levels of racial inequality  and how many of us are complicit with the current system. 

This has resulted in some positive moves within the built environment, with public sector procurement going through a shake-up. Local authority frameworks are being re-imagined and outspoken critics are getting important airtime. Dare we hope that we might be experiencing a paradigm shift that will lead to communities receiving buildings that are actually designed by people who understand them? Or is it more a case of large practices playing the box-ticking game by tagging on a BAME-led practice to their tender entry?

It’s too early to tell if any of the current initiatives will bring about long-term change. All we can know is that we are in the messy period of transition and that things could easily slip back into existing patterns of privilege and old boy networks. We cannot assume that sticking a diversity plaster on procurement, or an in-practice workshop, will lead to wide-ranging  systemic improvements. BAME isn't a genre of design, so why are developers looking for black excellence when white mediocrity was sufficient up until now? 

Can we bring about a cultural and behavioural revolution that the architecture industry so desperately needs? More importantly how is this done in a competitive market ? And why do so many think it’s not really a problem in the first place? 

Featuring:

Joseph Henry, Sound Advice
Jas Bhalla, Jas Bhalla Architects
Marsha Ramroop, RIBA
Peter George, Meridian Water
Sarah Akigbogun, Studio Aki
amongst others….</itunes:summary>
      <itunes:subtitle>The Airing Architectures Dirty Laundry Series: #02 BAMEWASHING

Of the many massive social upheavals of 2020, the BLM protests made us ask difficult questions about persistent levels of racial inequality  and how many of us are complicit with the current </itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #27 - 25th February 2021</title>
      <itunes:episode>15</itunes:episode>
      <podcast:episode>15</podcast:episode>
      <itunes:title>Negroni Talk #27 - 25th February 2021</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/1004305909</guid>
      <link>https://share.transistor.fm/s/3515cf9b</link>
      <description>
        <![CDATA[The Airing Architectures Dirty Laundry Series: #01 GREENWASHING

The science is clear on the construction industry, it's one of the biggest polluters and contributors to climate destruction. There is more and more of a push for projects, practices and the whole built environment to be sustainable, but even a term such as that can make the  industry's path to real change unclear. With 'Sustainable' being used to describe everything from stuck-on solar panels, net-zero airports to open-plan offices, good and bad intentions can easily blur and the planet is no better off for it. 

That's where questions, and more often accusations, of Greenwashing come in. Though grassroots organisations, community groups, press and commentators on social media can see through marketing speak, without regulation developers can use cosmetic green credentials to secure tenants and sail through planning, an architect can proudly cycle to MIPIM to pick up emissions heavy work and a glass skyscraper can be awarded a BREEAM rating and everyone pats themselves on the back with little to no consequences.

How can we really tackle the climate emergency in a way that makes the difference needed? What model should we use to judge a buildings success? Who loses out from ineffective Greenwashing?

Featuring:

Maria Smith, Buro Happold
Angela Dapper, Grimshaw
Sabrina Syed, Arch designer &amp; writer
Joe Giddings, Architects Climate Action Network

amongst others….]]>
      </description>
      <content:encoded>
        <![CDATA[The Airing Architectures Dirty Laundry Series: #01 GREENWASHING

The science is clear on the construction industry, it's one of the biggest polluters and contributors to climate destruction. There is more and more of a push for projects, practices and the whole built environment to be sustainable, but even a term such as that can make the  industry's path to real change unclear. With 'Sustainable' being used to describe everything from stuck-on solar panels, net-zero airports to open-plan offices, good and bad intentions can easily blur and the planet is no better off for it. 

That's where questions, and more often accusations, of Greenwashing come in. Though grassroots organisations, community groups, press and commentators on social media can see through marketing speak, without regulation developers can use cosmetic green credentials to secure tenants and sail through planning, an architect can proudly cycle to MIPIM to pick up emissions heavy work and a glass skyscraper can be awarded a BREEAM rating and everyone pats themselves on the back with little to no consequences.

How can we really tackle the climate emergency in a way that makes the difference needed? What model should we use to judge a buildings success? Who loses out from ineffective Greenwashing?

Featuring:

Maria Smith, Buro Happold
Angela Dapper, Grimshaw
Sabrina Syed, Arch designer &amp; writer
Joe Giddings, Architects Climate Action Network

amongst others….]]>
      </content:encoded>
      <pubDate>Wed, 10 Mar 2021 18:44:24 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/3515cf9b/1973963c.mp3" length="97728934" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/esZsfk15nWdqhozMDl9_mDI8XXRIFL5qjn3l0ZFA9BM/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS85MzQ0/Y2NlMTBjMzc0N2Uy/YTc0YzE2ZDA0Yzgz/ZmJjNi5qcGc.jpg"/>
      <itunes:duration>4072</itunes:duration>
      <itunes:summary>The Airing Architectures Dirty Laundry Series: #01 GREENWASHING

The science is clear on the construction industry, it's one of the biggest polluters and contributors to climate destruction. There is more and more of a push for projects, practices and the whole built environment to be sustainable, but even a term such as that can make the  industry's path to real change unclear. With 'Sustainable' being used to describe everything from stuck-on solar panels, net-zero airports to open-plan offices, good and bad intentions can easily blur and the planet is no better off for it. 

That's where questions, and more often accusations, of Greenwashing come in. Though grassroots organisations, community groups, press and commentators on social media can see through marketing speak, without regulation developers can use cosmetic green credentials to secure tenants and sail through planning, an architect can proudly cycle to MIPIM to pick up emissions heavy work and a glass skyscraper can be awarded a BREEAM rating and everyone pats themselves on the back with little to no consequences.

How can we really tackle the climate emergency in a way that makes the difference needed? What model should we use to judge a buildings success? Who loses out from ineffective Greenwashing?

Featuring:

Maria Smith, Buro Happold
Angela Dapper, Grimshaw
Sabrina Syed, Arch designer &amp;amp; writer
Joe Giddings, Architects Climate Action Network

amongst others….</itunes:summary>
      <itunes:subtitle>The Airing Architectures Dirty Laundry Series: #01 GREENWASHING

The science is clear on the construction industry, it's one of the biggest polluters and contributors to climate destruction. There is more and more of a push for projects, practices and the</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #26 - 16th December 2020 There’s No L In Architecture</title>
      <itunes:episode>14</itunes:episode>
      <podcast:episode>14</podcast:episode>
      <itunes:title>Negroni Talk #26 - 16th December 2020 There’s No L In Architecture</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/961931737</guid>
      <link>https://share.transistor.fm/s/3cba518e</link>
      <description>
        <![CDATA[There’s No L In Architecture: Musings On Making Less &amp; More In The Coming New Year.

It’s been an interesting year to say the least. The world has witnessed unparalleled change and technology has had to step up and fill the void left behind by restrictions on work and social gatherings. But the architecture industry carries on regardless, as teams meet in  virtual spaces and planning authorities make decisions via little Zoom boxes. Builders still build and investors want to put their money into  something despite the empty office buildings and cafes in our city centres that were once buzzing with activity. 

In the space of the last nine months we have shifted events and networking from almost exclusively physical environments to entirely digital. Following the initial excitement of meeting friends and colleagues for a drink while sitting at the laptop there was a glut of online activities (including a few our most exciting Negroni Talks ever produced). However, that sudden popularity peaked and then started to wane as we all realised that we’d rather take a screen break and go for a walk. 

As the cold nights draw in, we thought it was worth one last hurrah to meet and look at the year in review with old friends/ collaborators and newcomers for a good old gossip. We are therefore proposing a special talk to see out 2020 with a Negroni in hand and a chance to consider what 2021 will bring. One things for sure, we won’t be returning to business as usual.]]>
      </description>
      <content:encoded>
        <![CDATA[There’s No L In Architecture: Musings On Making Less &amp; More In The Coming New Year.

It’s been an interesting year to say the least. The world has witnessed unparalleled change and technology has had to step up and fill the void left behind by restrictions on work and social gatherings. But the architecture industry carries on regardless, as teams meet in  virtual spaces and planning authorities make decisions via little Zoom boxes. Builders still build and investors want to put their money into  something despite the empty office buildings and cafes in our city centres that were once buzzing with activity. 

In the space of the last nine months we have shifted events and networking from almost exclusively physical environments to entirely digital. Following the initial excitement of meeting friends and colleagues for a drink while sitting at the laptop there was a glut of online activities (including a few our most exciting Negroni Talks ever produced). However, that sudden popularity peaked and then started to wane as we all realised that we’d rather take a screen break and go for a walk. 

As the cold nights draw in, we thought it was worth one last hurrah to meet and look at the year in review with old friends/ collaborators and newcomers for a good old gossip. We are therefore proposing a special talk to see out 2020 with a Negroni in hand and a chance to consider what 2021 will bring. One things for sure, we won’t be returning to business as usual.]]>
      </content:encoded>
      <pubDate>Fri, 08 Jan 2021 17:15:05 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/3cba518e/c548aad3.mp3" length="65460578" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/uBc4aHPC0yWeweRhXJJEpt_WZdvisamG4V1C6cCOIRk/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS84OWVi/MmFmMjZlNDk5NjFm/MGIzZjc4MzhlOGMw/ODVkYy5qcGc.jpg"/>
      <itunes:duration>4092</itunes:duration>
      <itunes:summary>There’s No L In Architecture: Musings On Making Less &amp;amp; More In The Coming New Year.

It’s been an interesting year to say the least. The world has witnessed unparalleled change and technology has had to step up and fill the void left behind by restrictions on work and social gatherings. But the architecture industry carries on regardless, as teams meet in  virtual spaces and planning authorities make decisions via little Zoom boxes. Builders still build and investors want to put their money into  something despite the empty office buildings and cafes in our city centres that were once buzzing with activity. 

In the space of the last nine months we have shifted events and networking from almost exclusively physical environments to entirely digital. Following the initial excitement of meeting friends and colleagues for a drink while sitting at the laptop there was a glut of online activities (including a few our most exciting Negroni Talks ever produced). However, that sudden popularity peaked and then started to wane as we all realised that we’d rather take a screen break and go for a walk. 

As the cold nights draw in, we thought it was worth one last hurrah to meet and look at the year in review with old friends/ collaborators and newcomers for a good old gossip. We are therefore proposing a special talk to see out 2020 with a Negroni in hand and a chance to consider what 2021 will bring. One things for sure, we won’t be returning to business as usual.</itunes:summary>
      <itunes:subtitle>There’s No L In Architecture: Musings On Making Less &amp;amp; More In The Coming New Year.

It’s been an interesting year to say the least. The world has witnessed unparalleled change and technology has had to step up and fill the void left behind by restric</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #25 - 30th June 2020 Space Invaders  LIVE &amp; ONLINE!</title>
      <itunes:episode>13</itunes:episode>
      <podcast:episode>13</podcast:episode>
      <itunes:title>Negroni Talk #25 - 30th June 2020 Space Invaders  LIVE &amp; ONLINE!</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/850181857</guid>
      <link>https://share.transistor.fm/s/9b10696a</link>
      <description>
        <![CDATA[Space Invaders: Architecture and A Freeing From The Physical.

In the 2009 trial of the founders of Pirate Bay, the defendants were quoted as requesting that the language of the court be amended "We prefer AFK (Away From Keyboard) to IRL (In Real Life)" they said, "because we think the Internet is real."

We've never been closer to breaking down the boundaries between physical and digital environments. However, the alternative worlds of VR, Triple A video games and MMORPGs, provide 'spaces’ - which millions (if not billions) of people inhabit and interact with one another on a daily basis - that are rarely looked at as architectural, design led endeavours. 

Representations of buildings in video games frequently use recognisable forms to anchor us in familiar territory, and yet digital landscapes have the potential to expand our horizons and offer us unprecedented access, when compared to the restrictions and rules of the ‘real’ world. Can the digital ‘freedom’ suggested by video games be used to inspire a rethink of how to approach physical projects? Conversely can the ergonomic, sensory and poetic qualities found within designed material space inspire more ‘feeling’ in the virtual? What can each industry learn from the other to better realise the worlds they create? What is the role of architecture in an alternative reality?

Speakers:

Shumi Bose, Writer, lecturer and curator (chair)
Alexandra Lange, Architecture and Design critic
Will Wiles, Author
Lara Lesmes and Fredrik Hellberg, Space Popular
Gregarious Kythreotis, shed works
Ibiye Camp, Artist]]>
      </description>
      <content:encoded>
        <![CDATA[Space Invaders: Architecture and A Freeing From The Physical.

In the 2009 trial of the founders of Pirate Bay, the defendants were quoted as requesting that the language of the court be amended "We prefer AFK (Away From Keyboard) to IRL (In Real Life)" they said, "because we think the Internet is real."

We've never been closer to breaking down the boundaries between physical and digital environments. However, the alternative worlds of VR, Triple A video games and MMORPGs, provide 'spaces’ - which millions (if not billions) of people inhabit and interact with one another on a daily basis - that are rarely looked at as architectural, design led endeavours. 

Representations of buildings in video games frequently use recognisable forms to anchor us in familiar territory, and yet digital landscapes have the potential to expand our horizons and offer us unprecedented access, when compared to the restrictions and rules of the ‘real’ world. Can the digital ‘freedom’ suggested by video games be used to inspire a rethink of how to approach physical projects? Conversely can the ergonomic, sensory and poetic qualities found within designed material space inspire more ‘feeling’ in the virtual? What can each industry learn from the other to better realise the worlds they create? What is the role of architecture in an alternative reality?

Speakers:

Shumi Bose, Writer, lecturer and curator (chair)
Alexandra Lange, Architecture and Design critic
Will Wiles, Author
Lara Lesmes and Fredrik Hellberg, Space Popular
Gregarious Kythreotis, shed works
Ibiye Camp, Artist]]>
      </content:encoded>
      <pubDate>Wed, 01 Jul 2020 11:40:57 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/9b10696a/ab931055.mp3" length="137362862" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/9_mK2tPCubnAPcKRPIl18C5EaaV0o90d5EjHLHM-1tM/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS8yZmIw/ZDMyZWM0NDJmYjFm/ZGQzMzQ5MDNmYTI5/ZTlhZi5qcGc.jpg"/>
      <itunes:duration>8586</itunes:duration>
      <itunes:summary>Space Invaders: Architecture and A Freeing From The Physical.

In the 2009 trial of the founders of Pirate Bay, the defendants were quoted as requesting that the language of the court be amended "We prefer AFK (Away From Keyboard) to IRL (In Real Life)" they said, "because we think the Internet is real."

We've never been closer to breaking down the boundaries between physical and digital environments. However, the alternative worlds of VR, Triple A video games and MMORPGs, provide 'spaces’ - which millions (if not billions) of people inhabit and interact with one another on a daily basis - that are rarely looked at as architectural, design led endeavours. 

Representations of buildings in video games frequently use recognisable forms to anchor us in familiar territory, and yet digital landscapes have the potential to expand our horizons and offer us unprecedented access, when compared to the restrictions and rules of the ‘real’ world. Can the digital ‘freedom’ suggested by video games be used to inspire a rethink of how to approach physical projects? Conversely can the ergonomic, sensory and poetic qualities found within designed material space inspire more ‘feeling’ in the virtual? What can each industry learn from the other to better realise the worlds they create? What is the role of architecture in an alternative reality?

Speakers:

Shumi Bose, Writer, lecturer and curator (chair)
Alexandra Lange, Architecture and Design critic
Will Wiles, Author
Lara Lesmes and Fredrik Hellberg, Space Popular
Gregarious Kythreotis, shed works
Ibiye Camp, Artist</itunes:summary>
      <itunes:subtitle>Space Invaders: Architecture and A Freeing From The Physical.

In the 2009 trial of the founders of Pirate Bay, the defendants were quoted as requesting that the language of the court be amended "We prefer AFK (Away From Keyboard) to IRL (In Real Life)" t</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #24 - Stand &amp; Deliver LIVE &amp; ONLINE!</title>
      <itunes:episode>12</itunes:episode>
      <podcast:episode>12</podcast:episode>
      <itunes:title>Negroni Talk #24 - Stand &amp; Deliver LIVE &amp; ONLINE!</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/849066763</guid>
      <link>https://share.transistor.fm/s/8c0b875b</link>
      <description>
        <![CDATA[Stand &amp; Deliver: The Roll Of Finance In Architecture

On the development highways, when money flows, everything is good. The rich get richer, the poor get poorer. It is an environment where money makes money and risks are calculated. It’s a numbers game.

Those with land ownership have the asset (the raw materials) and stand to offer those with financial backing and proven experience (the processing) to deliver development. Then its packaged up and sold in the marketplace for a profit thanks to professionals, agents and so on (the sales people). Everyone gets their cut. In this scene, ‘Architecture’ has become a side show to the act of building and an increasingly marginalised concern, because architects don’t tend to take on responsibility and risk in comparison with the high-stake players.

Finance in Architecture. Is it relevant? Is it of any value? Is it really worth talking about? 

It is not just a question of how architecture embeds itself within the powerful spatial fix. Nor is it a question simply about the architects ethics, morality or address to the corrupting power of money. It is more a question of power itself. What if the architect was highwayman? Your money or your life?

Speakers:

Alpa Depani, London Borough of Waltham Forest (Chair)
Simon Allford, AHMM
Dr Julia King, LSE
Jack Self, REAL
David Ogunmuyiwa, ArchitectureDoingPlace]]>
      </description>
      <content:encoded>
        <![CDATA[Stand &amp; Deliver: The Roll Of Finance In Architecture

On the development highways, when money flows, everything is good. The rich get richer, the poor get poorer. It is an environment where money makes money and risks are calculated. It’s a numbers game.

Those with land ownership have the asset (the raw materials) and stand to offer those with financial backing and proven experience (the processing) to deliver development. Then its packaged up and sold in the marketplace for a profit thanks to professionals, agents and so on (the sales people). Everyone gets their cut. In this scene, ‘Architecture’ has become a side show to the act of building and an increasingly marginalised concern, because architects don’t tend to take on responsibility and risk in comparison with the high-stake players.

Finance in Architecture. Is it relevant? Is it of any value? Is it really worth talking about? 

It is not just a question of how architecture embeds itself within the powerful spatial fix. Nor is it a question simply about the architects ethics, morality or address to the corrupting power of money. It is more a question of power itself. What if the architect was highwayman? Your money or your life?

Speakers:

Alpa Depani, London Borough of Waltham Forest (Chair)
Simon Allford, AHMM
Dr Julia King, LSE
Jack Self, REAL
David Ogunmuyiwa, ArchitectureDoingPlace]]>
      </content:encoded>
      <pubDate>Mon, 29 Jun 2020 17:35:58 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/8c0b875b/4236df37.mp3" length="81343778" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/Kpma6s5vxbm_AOkjAnnyaAzU4r4gMNgM4mALtnMgnwY/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS8wZmY4/NDM3YzE1NmNiNzY3/NmIyNGZiMTI4ZmRi/YjkwNS5qcGc.jpg"/>
      <itunes:duration>5084</itunes:duration>
      <itunes:summary>Stand &amp;amp; Deliver: The Roll Of Finance In Architecture

On the development highways, when money flows, everything is good. The rich get richer, the poor get poorer. It is an environment where money makes money and risks are calculated. It’s a numbers game.

Those with land ownership have the asset (the raw materials) and stand to offer those with financial backing and proven experience (the processing) to deliver development. Then its packaged up and sold in the marketplace for a profit thanks to professionals, agents and so on (the sales people). Everyone gets their cut. In this scene, ‘Architecture’ has become a side show to the act of building and an increasingly marginalised concern, because architects don’t tend to take on responsibility and risk in comparison with the high-stake players.

Finance in Architecture. Is it relevant? Is it of any value? Is it really worth talking about? 

It is not just a question of how architecture embeds itself within the powerful spatial fix. Nor is it a question simply about the architects ethics, morality or address to the corrupting power of money. It is more a question of power itself. What if the architect was highwayman? Your money or your life?

Speakers:

Alpa Depani, London Borough of Waltham Forest (Chair)
Simon Allford, AHMM
Dr Julia King, LSE
Jack Self, REAL
David Ogunmuyiwa, ArchitectureDoingPlace</itunes:summary>
      <itunes:subtitle>Stand &amp;amp; Deliver: The Roll Of Finance In Architecture

On the development highways, when money flows, everything is good. The rich get richer, the poor get poorer. It is an environment where money makes money and risks are calculated. It’s a numbers ga</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #23 - 9th June 2020 - Icon Therefore I Am.</title>
      <itunes:episode>11</itunes:episode>
      <podcast:episode>11</podcast:episode>
      <itunes:title>Negroni Talk #23 - 9th June 2020 - Icon Therefore I Am.</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/838422157</guid>
      <link>https://share.transistor.fm/s/1c41a78d</link>
      <description>
        <![CDATA[Is the icon in architecture about to disappear?
Love them or loathe them, there are a series of buildings and structures that have become ‘iconic’ around the world - drawing visitors from far and wide and reshaping city skylines. Many argue that these totemic built forms are key to local regeneration as they attract people and money. This is not a wholly new phenomenon but recent success has led to a new wave of marketing language around buildings, where any small flourish of form on a block of flats instantly makes the building an ‘icon’ within its area. We have also seen the rise of the ‘starchiect' alongside the growth of iconic architecture, where the cult of personality has become another tool for selling architecture to tenants and the wider public. 

In a world disrupted by pandemics, physical mobility is potentially set to change forever and seismic shifts in culture will inevitably lead to new perspectives. How will we use buildings in the future and what will be important to most people living in towns and cities? Perhaps a quieter preoccupation with interior space and a less assertive design sensibility will take precedence over dramatic external forms. Are we seeing an end to the era of the icon?

Speakers:

Tom Dyckhoff, Writer, Broadcaster, Historian (Chair)
Peter Wynne Rees CBE, Professor of Places &amp; City Planning
Adam Nathaniel Furman, Artist and Designer
Amanda Baillieu, Journalist and founder of Archiboo
Yasmin Al-Ani Spence, WilkinsonEyre
Thom Mayne, founding partner of Morphosis]]>
      </description>
      <content:encoded>
        <![CDATA[Is the icon in architecture about to disappear?
Love them or loathe them, there are a series of buildings and structures that have become ‘iconic’ around the world - drawing visitors from far and wide and reshaping city skylines. Many argue that these totemic built forms are key to local regeneration as they attract people and money. This is not a wholly new phenomenon but recent success has led to a new wave of marketing language around buildings, where any small flourish of form on a block of flats instantly makes the building an ‘icon’ within its area. We have also seen the rise of the ‘starchiect' alongside the growth of iconic architecture, where the cult of personality has become another tool for selling architecture to tenants and the wider public. 

In a world disrupted by pandemics, physical mobility is potentially set to change forever and seismic shifts in culture will inevitably lead to new perspectives. How will we use buildings in the future and what will be important to most people living in towns and cities? Perhaps a quieter preoccupation with interior space and a less assertive design sensibility will take precedence over dramatic external forms. Are we seeing an end to the era of the icon?

Speakers:

Tom Dyckhoff, Writer, Broadcaster, Historian (Chair)
Peter Wynne Rees CBE, Professor of Places &amp; City Planning
Adam Nathaniel Furman, Artist and Designer
Amanda Baillieu, Journalist and founder of Archiboo
Yasmin Al-Ani Spence, WilkinsonEyre
Thom Mayne, founding partner of Morphosis]]>
      </content:encoded>
      <pubDate>Thu, 11 Jun 2020 19:18:39 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/1c41a78d/5fbaac60.mp3" length="96917779" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/woG938dwUvhdLtokrOnt0GezgPcLU6mcgI69OLUHWlA/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9iZDZk/Mzc2ODAwM2MwNDA3/MThlMDVlYWM5MTcx/ODhhNi5qcGc.jpg"/>
      <itunes:duration>6058</itunes:duration>
      <itunes:summary>Is the icon in architecture about to disappear?
Love them or loathe them, there are a series of buildings and structures that have become ‘iconic’ around the world - drawing visitors from far and wide and reshaping city skylines. Many argue that these totemic built forms are key to local regeneration as they attract people and money. This is not a wholly new phenomenon but recent success has led to a new wave of marketing language around buildings, where any small flourish of form on a block of flats instantly makes the building an ‘icon’ within its area. We have also seen the rise of the ‘starchiect' alongside the growth of iconic architecture, where the cult of personality has become another tool for selling architecture to tenants and the wider public. 

In a world disrupted by pandemics, physical mobility is potentially set to change forever and seismic shifts in culture will inevitably lead to new perspectives. How will we use buildings in the future and what will be important to most people living in towns and cities? Perhaps a quieter preoccupation with interior space and a less assertive design sensibility will take precedence over dramatic external forms. Are we seeing an end to the era of the icon?

Speakers:

Tom Dyckhoff, Writer, Broadcaster, Historian (Chair)
Peter Wynne Rees CBE, Professor of Places &amp;amp; City Planning
Adam Nathaniel Furman, Artist and Designer
Amanda Baillieu, Journalist and founder of Archiboo
Yasmin Al-Ani Spence, WilkinsonEyre
Thom Mayne, founding partner of Morphosis</itunes:summary>
      <itunes:subtitle>Is the icon in architecture about to disappear?
Love them or loathe them, there are a series of buildings and structures that have become ‘iconic’ around the world - drawing visitors from far and wide and reshaping city skylines. Many argue that these tot</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #22 - 19th May 2020 Modern Architects Are Rubbish.  (Banality II)</title>
      <itunes:episode>10</itunes:episode>
      <podcast:episode>10</podcast:episode>
      <itunes:title>Negroni Talk #22 - 19th May 2020 Modern Architects Are Rubbish.  (Banality II)</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/829793629</guid>
      <link>https://share.transistor.fm/s/9227265f</link>
      <description>
        <![CDATA[Modern Architects Are Rubbish.
(Banality II)

Architects are supposedly part of the creative community so why are they so incapable of talking about cities and buildings in an engaging way? Unlike many artists, it is rare for architects to fearlessly pursue new ideas and commit themselves to provoking new ways of living and thinking. Are they too consumed with the making of architecture and the broader implications of their work to figure out a way to talk about it? Do architects need a reality check? 

The forces behind new buildings – The Who, The What and The Why – remain unseen, unknown and something of a mystery to the general public. Architecture appears to exist as a kind of mask, impenetrable, impersonal, unrepentant and concealing as much as it reveals. When many buildings are as dull as dishwater, is this blandness a true reflection of the designers behind them? What language architecture speaks and how easily it can be understood are important questions to determine if it can successfully connect with us as people and have meaning in our daily lives.

In stark contrast, artists seem to be much more successful inquisitors by observing, inhabiting, and representing the built environment in a fashion that sparks interest and debate. Whether it is painting, sculpture, collage, film, literature or music, art has consistently addressed the implications of architecture on society, space and place and in doing so has communicated fundamental truths and experiences that shape our understanding of the human condition. 

Does this mean that there’s a better conversation about architecture taking place in the art world? Should architects get out of their bubble, redefine themselves, and engage with the broader creative community to better understand the realities they’re creating with their built forms and lofty visions?

Speakers: 

Sam Jacob, Sam Jacob Studio (Chair)
Marc Isaacs, Film Maker
Andrea Luka Zimmerman, Artist
Hettie Judah, Writer
Priya Khanchandani, Writer and Curator
Nick Rosen, Author]]>
      </description>
      <content:encoded>
        <![CDATA[Modern Architects Are Rubbish.
(Banality II)

Architects are supposedly part of the creative community so why are they so incapable of talking about cities and buildings in an engaging way? Unlike many artists, it is rare for architects to fearlessly pursue new ideas and commit themselves to provoking new ways of living and thinking. Are they too consumed with the making of architecture and the broader implications of their work to figure out a way to talk about it? Do architects need a reality check? 

The forces behind new buildings – The Who, The What and The Why – remain unseen, unknown and something of a mystery to the general public. Architecture appears to exist as a kind of mask, impenetrable, impersonal, unrepentant and concealing as much as it reveals. When many buildings are as dull as dishwater, is this blandness a true reflection of the designers behind them? What language architecture speaks and how easily it can be understood are important questions to determine if it can successfully connect with us as people and have meaning in our daily lives.

In stark contrast, artists seem to be much more successful inquisitors by observing, inhabiting, and representing the built environment in a fashion that sparks interest and debate. Whether it is painting, sculpture, collage, film, literature or music, art has consistently addressed the implications of architecture on society, space and place and in doing so has communicated fundamental truths and experiences that shape our understanding of the human condition. 

Does this mean that there’s a better conversation about architecture taking place in the art world? Should architects get out of their bubble, redefine themselves, and engage with the broader creative community to better understand the realities they’re creating with their built forms and lofty visions?

Speakers: 

Sam Jacob, Sam Jacob Studio (Chair)
Marc Isaacs, Film Maker
Andrea Luka Zimmerman, Artist
Hettie Judah, Writer
Priya Khanchandani, Writer and Curator
Nick Rosen, Author]]>
      </content:encoded>
      <pubDate>Thu, 28 May 2020 15:07:24 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/9227265f/081d01a2.mp3" length="107617557" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/1nDRCUaBAJYmxFcqde37WMyFrBwmMe_yWZYfR7mW5lg/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS8xNzFm/ZjZkNDVlYzQ2ZDhk/N2YxMGY0YTBmMzM5/NDdhYS5qcGc.jpg"/>
      <itunes:duration>6726</itunes:duration>
      <itunes:summary>Modern Architects Are Rubbish.
(Banality II)

Architects are supposedly part of the creative community so why are they so incapable of talking about cities and buildings in an engaging way? Unlike many artists, it is rare for architects to fearlessly pursue new ideas and commit themselves to provoking new ways of living and thinking. Are they too consumed with the making of architecture and the broader implications of their work to figure out a way to talk about it? Do architects need a reality check? 

The forces behind new buildings – The Who, The What and The Why – remain unseen, unknown and something of a mystery to the general public. Architecture appears to exist as a kind of mask, impenetrable, impersonal, unrepentant and concealing as much as it reveals. When many buildings are as dull as dishwater, is this blandness a true reflection of the designers behind them? What language architecture speaks and how easily it can be understood are important questions to determine if it can successfully connect with us as people and have meaning in our daily lives.

In stark contrast, artists seem to be much more successful inquisitors by observing, inhabiting, and representing the built environment in a fashion that sparks interest and debate. Whether it is painting, sculpture, collage, film, literature or music, art has consistently addressed the implications of architecture on society, space and place and in doing so has communicated fundamental truths and experiences that shape our understanding of the human condition. 

Does this mean that there’s a better conversation about architecture taking place in the art world? Should architects get out of their bubble, redefine themselves, and engage with the broader creative community to better understand the realities they’re creating with their built forms and lofty visions?

Speakers: 

Sam Jacob, Sam Jacob Studio (Chair)
Marc Isaacs, Film Maker
Andrea Luka Zimmerman, Artist
Hettie Judah, Writer
Priya Khanchandani, Writer and Curator
Nick Rosen, Author</itunes:summary>
      <itunes:subtitle>Modern Architects Are Rubbish.
(Banality II)

Architects are supposedly part of the creative community so why are they so incapable of talking about cities and buildings in an engaging way? Unlike many artists, it is rare for architects to fearlessly purs</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #21 - The Joy Of Architecture</title>
      <itunes:episode>9</itunes:episode>
      <podcast:episode>9</podcast:episode>
      <itunes:title>Negroni Talk #21 - The Joy Of Architecture</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/805533574</guid>
      <link>https://share.transistor.fm/s/5cf32a62</link>
      <description>
        <![CDATA[The Joy Of Architecture: Does Fun Follow Form, Function Fear &amp; Finance?

Where is the fun in contemporary architecture? As a process, creating buildings seems to revolve around function, finance and fear rather than freeing things up for flexible flights of fancy. To add insult to injury 99% of the time the end product is uninspiring and distinctly average. So do architects actually enjoy what they spend most of their time doing?

Through building we create new realities, and in doing so we have a choice whether we make earthbound Heavens or accidental Hells. In the C21st can architecture be rediscovered as a liberating and democratising force able to help create a better world for all, with buildings standing for a celebration of life itself?

What makes a building a piece of ‘Architecture’ should help define what ‘A Joy In Architecture’ is, and yet in answering this question a trap can be seen to await designers, because a kind of  ‘Joyless-ness’ frequently ends up being the result of their labours, be it in the nobility of obsessively-detailed-material-craft at one end of the spectrum, or the gimmickry of brightly coloured ‘tack on’ shapes at the other.

It seems that in Britain today, rational and formulaic brick boxes have become a lazy shorthand for design quality and appear to be the height of our collective ambition. Tasteful, inoffensive aesthetics are the order of the day and whilst this might please planners looking for ‘something that fits in’, do the general public agree? More conservative organisations argue that people crave traditionalism as a return to a golden age of architecture, but buildings should be about more than just an external aesthetic. These are the places we live and work within and the quality of every space we occupy has an emotional &amp; psychological impact on us in our daily lives.

Is it any surprise that we’re in this position when the built environment is seen first and foremost as an investment opportunity rather than an opportunity to create amazing places and spaces? Where’s the joy in Architecture?

Speakers: 

Dr Jane Clossick, London Metropolitan University (Chair)
Lee Ivett, Baxendale Studio
Lara Lesmes and Fredrik Hellberg, Space Popular
Alpa Depani, London Borough of Waltham Forest
Francis Terry, Francis Terry and Associates
Alfredo Caraballo, Allies &amp; Morrison]]>
      </description>
      <content:encoded>
        <![CDATA[The Joy Of Architecture: Does Fun Follow Form, Function Fear &amp; Finance?

Where is the fun in contemporary architecture? As a process, creating buildings seems to revolve around function, finance and fear rather than freeing things up for flexible flights of fancy. To add insult to injury 99% of the time the end product is uninspiring and distinctly average. So do architects actually enjoy what they spend most of their time doing?

Through building we create new realities, and in doing so we have a choice whether we make earthbound Heavens or accidental Hells. In the C21st can architecture be rediscovered as a liberating and democratising force able to help create a better world for all, with buildings standing for a celebration of life itself?

What makes a building a piece of ‘Architecture’ should help define what ‘A Joy In Architecture’ is, and yet in answering this question a trap can be seen to await designers, because a kind of  ‘Joyless-ness’ frequently ends up being the result of their labours, be it in the nobility of obsessively-detailed-material-craft at one end of the spectrum, or the gimmickry of brightly coloured ‘tack on’ shapes at the other.

It seems that in Britain today, rational and formulaic brick boxes have become a lazy shorthand for design quality and appear to be the height of our collective ambition. Tasteful, inoffensive aesthetics are the order of the day and whilst this might please planners looking for ‘something that fits in’, do the general public agree? More conservative organisations argue that people crave traditionalism as a return to a golden age of architecture, but buildings should be about more than just an external aesthetic. These are the places we live and work within and the quality of every space we occupy has an emotional &amp; psychological impact on us in our daily lives.

Is it any surprise that we’re in this position when the built environment is seen first and foremost as an investment opportunity rather than an opportunity to create amazing places and spaces? Where’s the joy in Architecture?

Speakers: 

Dr Jane Clossick, London Metropolitan University (Chair)
Lee Ivett, Baxendale Studio
Lara Lesmes and Fredrik Hellberg, Space Popular
Alpa Depani, London Borough of Waltham Forest
Francis Terry, Francis Terry and Associates
Alfredo Caraballo, Allies &amp; Morrison]]>
      </content:encoded>
      <pubDate>Thu, 23 Apr 2020 18:41:37 +0000</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/5cf32a62/e903db58.mp3" length="86312887" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/56j-HA2SbtD4jRomv7ee4AsSFJtRG6ZRBa3xiuPr4HE/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9iYzUx/MmE0YzMwZDViYjQ2/ZmNjNjBmZjZkNGFm/ZTE2YS5qcGc.jpg"/>
      <itunes:duration>5395</itunes:duration>
      <itunes:summary>The Joy Of Architecture: Does Fun Follow Form, Function Fear &amp;amp; Finance?

Where is the fun in contemporary architecture? As a process, creating buildings seems to revolve around function, finance and fear rather than freeing things up for flexible flights of fancy. To add insult to injury 99% of the time the end product is uninspiring and distinctly average. So do architects actually enjoy what they spend most of their time doing?

Through building we create new realities, and in doing so we have a choice whether we make earthbound Heavens or accidental Hells. In the C21st can architecture be rediscovered as a liberating and democratising force able to help create a better world for all, with buildings standing for a celebration of life itself?

What makes a building a piece of ‘Architecture’ should help define what ‘A Joy In Architecture’ is, and yet in answering this question a trap can be seen to await designers, because a kind of  ‘Joyless-ness’ frequently ends up being the result of their labours, be it in the nobility of obsessively-detailed-material-craft at one end of the spectrum, or the gimmickry of brightly coloured ‘tack on’ shapes at the other.

It seems that in Britain today, rational and formulaic brick boxes have become a lazy shorthand for design quality and appear to be the height of our collective ambition. Tasteful, inoffensive aesthetics are the order of the day and whilst this might please planners looking for ‘something that fits in’, do the general public agree? More conservative organisations argue that people crave traditionalism as a return to a golden age of architecture, but buildings should be about more than just an external aesthetic. These are the places we live and work within and the quality of every space we occupy has an emotional &amp;amp; psychological impact on us in our daily lives.

Is it any surprise that we’re in this position when the built environment is seen first and foremost as an investment opportunity rather than an opportunity to create amazing places and spaces? Where’s the joy in Architecture?

Speakers: 

Dr Jane Clossick, London Metropolitan University (Chair)
Lee Ivett, Baxendale Studio
Lara Lesmes and Fredrik Hellberg, Space Popular
Alpa Depani, London Borough of Waltham Forest
Francis Terry, Francis Terry and Associates
Alfredo Caraballo, Allies &amp;amp; Morrison</itunes:summary>
      <itunes:subtitle>The Joy Of Architecture: Does Fun Follow Form, Function Fear &amp;amp; Finance?

Where is the fun in contemporary architecture? As a process, creating buildings seems to revolve around function, finance and fear rather than freeing things up for flexible flig</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #20 - 09.03.20. Tinder Tender Procurement Lies</title>
      <itunes:episode>8</itunes:episode>
      <podcast:episode>8</podcast:episode>
      <itunes:title>Negroni Talk #20 - 09.03.20. Tinder Tender Procurement Lies</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/774251107</guid>
      <link>https://share.transistor.fm/s/4fa904f3</link>
      <description>
        <![CDATA[Procurement is a pain. For architects seeking work in the public sector, progressive design &amp; building knowledge is often overlooked for the cheapest and quickest means to meet the end. The requisite qualification seems to be held within organisations and methods that are perceived as being ‘risk adverse’ and in those parties who can offer fees that are just crazy small. Part of this problem is how the public sector is required to comply with OJEU standards and the accompanying bureaucracy. 

The alliance between private and public bodies, whilst deemed necessary in our current times, remains unperfected and flawed. If a post-Brexit economy is to be better as some proclaim, then will Britain’s public sector both simplify and open up its tendering procedures to alternatives, so that maybe architects with smaller, more dynamic and hungrier practices can win a job once in a while? Can public projects take on a new dimension through their delivery. We doubt it. The clues are in the Grenfell tragedy: a multitude of invested interests, subcontracts and cutting corners at many levels being a structural problem through its procurement.

The bidding for public work may be competitive and no doubt in many cases ‘rigged’ through frameworks of bidding, so we ask if there is scope for new forms of competition, new ways of assessing what is of value, and how to ensure a culture of attaining value for money exists and becomes the norm. Can there be a public sector emancipated from conservatism, blown budgets, and the inefficiencies and fears of Little Britain politics?

Speakers: 

Russell Curtis, RCKa (Chair)
Rae Whittow-Williams, Greater London Authority
Merlin Fulcher, Architects' Journal
Hilary Satchwell, Tibbards
Lisa Woo, Enfield Council]]>
      </description>
      <content:encoded>
        <![CDATA[Procurement is a pain. For architects seeking work in the public sector, progressive design &amp; building knowledge is often overlooked for the cheapest and quickest means to meet the end. The requisite qualification seems to be held within organisations and methods that are perceived as being ‘risk adverse’ and in those parties who can offer fees that are just crazy small. Part of this problem is how the public sector is required to comply with OJEU standards and the accompanying bureaucracy. 

The alliance between private and public bodies, whilst deemed necessary in our current times, remains unperfected and flawed. If a post-Brexit economy is to be better as some proclaim, then will Britain’s public sector both simplify and open up its tendering procedures to alternatives, so that maybe architects with smaller, more dynamic and hungrier practices can win a job once in a while? Can public projects take on a new dimension through their delivery. We doubt it. The clues are in the Grenfell tragedy: a multitude of invested interests, subcontracts and cutting corners at many levels being a structural problem through its procurement.

The bidding for public work may be competitive and no doubt in many cases ‘rigged’ through frameworks of bidding, so we ask if there is scope for new forms of competition, new ways of assessing what is of value, and how to ensure a culture of attaining value for money exists and becomes the norm. Can there be a public sector emancipated from conservatism, blown budgets, and the inefficiencies and fears of Little Britain politics?

Speakers: 

Russell Curtis, RCKa (Chair)
Rae Whittow-Williams, Greater London Authority
Merlin Fulcher, Architects' Journal
Hilary Satchwell, Tibbards
Lisa Woo, Enfield Council]]>
      </content:encoded>
      <pubDate>Wed, 11 Mar 2020 12:36:40 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/4fa904f3/002ca0d6.mp3" length="81747954" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/Aq6-Z8uIfsDlxpIz8TqKhoJbFdouvOiILQ3KcBNBNoI/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS84YzAz/ODc2M2FmOGEwZjE2/ZDU3YzQwZDRiYmRj/YjllMS5qcGc.jpg"/>
      <itunes:duration>5110</itunes:duration>
      <itunes:summary>Procurement is a pain. For architects seeking work in the public sector, progressive design &amp;amp; building knowledge is often overlooked for the cheapest and quickest means to meet the end. The requisite qualification seems to be held within organisations and methods that are perceived as being ‘risk adverse’ and in those parties who can offer fees that are just crazy small. Part of this problem is how the public sector is required to comply with OJEU standards and the accompanying bureaucracy. 

The alliance between private and public bodies, whilst deemed necessary in our current times, remains unperfected and flawed. If a post-Brexit economy is to be better as some proclaim, then will Britain’s public sector both simplify and open up its tendering procedures to alternatives, so that maybe architects with smaller, more dynamic and hungrier practices can win a job once in a while? Can public projects take on a new dimension through their delivery. We doubt it. The clues are in the Grenfell tragedy: a multitude of invested interests, subcontracts and cutting corners at many levels being a structural problem through its procurement.

The bidding for public work may be competitive and no doubt in many cases ‘rigged’ through frameworks of bidding, so we ask if there is scope for new forms of competition, new ways of assessing what is of value, and how to ensure a culture of attaining value for money exists and becomes the norm. Can there be a public sector emancipated from conservatism, blown budgets, and the inefficiencies and fears of Little Britain politics?

Speakers: 

Russell Curtis, RCKa (Chair)
Rae Whittow-Williams, Greater London Authority
Merlin Fulcher, Architects' Journal
Hilary Satchwell, Tibbards
Lisa Woo, Enfield Council</itunes:summary>
      <itunes:subtitle>Procurement is a pain. For architects seeking work in the public sector, progressive design &amp;amp; building knowledge is often overlooked for the cheapest and quickest means to meet the end. The requisite qualification seems to be held within organisations</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #19 - 10.02.20 Awards: What Are They Good For? Absolutely Nuthin’!</title>
      <itunes:episode>7</itunes:episode>
      <podcast:episode>7</podcast:episode>
      <itunes:title>Negroni Talk #19 - 10.02.20 Awards: What Are They Good For? Absolutely Nuthin’!</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">tag:soundcloud,2010:tracks/763303543</guid>
      <link>https://share.transistor.fm/s/fd5c7a3c</link>
      <description>
        <![CDATA[Awards: What Are They Good For? Absolutely Nuthin’!

What is the point of Architectural Awards? Is it to win more work? Boost the ego of architects? Share beautiful projects with the general public? 

The proliferation of Awards means that they have become something of an industry within an industry and we are all guilty of seeking validation by submitting projects to be judged, despite knowing that more often than not, we will miss out. Why do practices put themselves through this lottery? Meeting an Award’s criteria and putting projects forward for consideration is often costly and the benefits can often be hard to see.

We’re told that a win will propel a studio into the limelight, however since it's doubtful if many people outside the profession will ever know about it, there remain questions about the advantages or purpose of this 'new found fame'. Do awards truly reflect actual quality in architecture, or in being seduced by appearances do they end up rewarding and therefore masking bad architecture? 

Meanwhile the same cabal of practices seem to be hoovering up the majority of the prizes and they’re often to be found on judging panels themselves. Are architectural awards rigged or politicised to reflect sentiment,  the times, or worse; maintain a balancing act by responding to the kind of project/practice that won previously.  

Should we be judging buildings like you do films, music or books anyway? It’s not as if anyone in their right mind is going to commission another version of a design thats already won an award. Awards, what are they good for?…...Absolutely nuthin!

Speakers: 

Peter Smisek, ICON (Chair)
Marcus Fairs, Dezeen
Rab Bennetts, Bennetts Associates
Veronica Simpson, Journalist
Fliss Childs, Feilden Clegg Bradley Studios]]>
      </description>
      <content:encoded>
        <![CDATA[Awards: What Are They Good For? Absolutely Nuthin’!

What is the point of Architectural Awards? Is it to win more work? Boost the ego of architects? Share beautiful projects with the general public? 

The proliferation of Awards means that they have become something of an industry within an industry and we are all guilty of seeking validation by submitting projects to be judged, despite knowing that more often than not, we will miss out. Why do practices put themselves through this lottery? Meeting an Award’s criteria and putting projects forward for consideration is often costly and the benefits can often be hard to see.

We’re told that a win will propel a studio into the limelight, however since it's doubtful if many people outside the profession will ever know about it, there remain questions about the advantages or purpose of this 'new found fame'. Do awards truly reflect actual quality in architecture, or in being seduced by appearances do they end up rewarding and therefore masking bad architecture? 

Meanwhile the same cabal of practices seem to be hoovering up the majority of the prizes and they’re often to be found on judging panels themselves. Are architectural awards rigged or politicised to reflect sentiment,  the times, or worse; maintain a balancing act by responding to the kind of project/practice that won previously.  

Should we be judging buildings like you do films, music or books anyway? It’s not as if anyone in their right mind is going to commission another version of a design thats already won an award. Awards, what are they good for?…...Absolutely nuthin!

Speakers: 

Peter Smisek, ICON (Chair)
Marcus Fairs, Dezeen
Rab Bennetts, Bennetts Associates
Veronica Simpson, Journalist
Fliss Childs, Feilden Clegg Bradley Studios]]>
      </content:encoded>
      <pubDate>Wed, 19 Feb 2020 16:43:02 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/fd5c7a3c/7762271d.mp3" length="86694235" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/OYCHQ2LXHqJ0ceRf9q93GiLwbMaMCAMJhdSyI6JrKh4/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS81MGRk/MDAzNDQzMDAzMmRj/OGQzNDY1M2Q2MzNj/MDJlNC5qcGc.jpg"/>
      <itunes:duration>5419</itunes:duration>
      <itunes:summary>Awards: What Are They Good For? Absolutely Nuthin’!

What is the point of Architectural Awards? Is it to win more work? Boost the ego of architects? Share beautiful projects with the general public? 

The proliferation of Awards means that they have become something of an industry within an industry and we are all guilty of seeking validation by submitting projects to be judged, despite knowing that more often than not, we will miss out. Why do practices put themselves through this lottery? Meeting an Award’s criteria and putting projects forward for consideration is often costly and the benefits can often be hard to see.

We’re told that a win will propel a studio into the limelight, however since it's doubtful if many people outside the profession will ever know about it, there remain questions about the advantages or purpose of this 'new found fame'. Do awards truly reflect actual quality in architecture, or in being seduced by appearances do they end up rewarding and therefore masking bad architecture? 

Meanwhile the same cabal of practices seem to be hoovering up the majority of the prizes and they’re often to be found on judging panels themselves. Are architectural awards rigged or politicised to reflect sentiment,  the times, or worse; maintain a balancing act by responding to the kind of project/practice that won previously.  

Should we be judging buildings like you do films, music or books anyway? It’s not as if anyone in their right mind is going to commission another version of a design thats already won an award. Awards, what are they good for?…...Absolutely nuthin!

Speakers: 

Peter Smisek, ICON (Chair)
Marcus Fairs, Dezeen
Rab Bennetts, Bennetts Associates
Veronica Simpson, Journalist
Fliss Childs, Feilden Clegg Bradley Studios</itunes:summary>
      <itunes:subtitle>Awards: What Are They Good For? Absolutely Nuthin’!

What is the point of Architectural Awards? Is it to win more work? Boost the ego of architects? Share beautiful projects with the general public? 

The proliferation of Awards means that they have becom</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #18 - 28.01.20. Bully For You! Abuse And Architecture.</title>
      <itunes:episode>6</itunes:episode>
      <podcast:episode>6</podcast:episode>
      <itunes:title>Negroni Talk #18 - 28.01.20. Bully For You! Abuse And Architecture.</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">8793a5eb-1fee-4665-aa4d-2dd7b4b6b758</guid>
      <link>https://share.transistor.fm/s/4bde94aa</link>
      <description>
        <![CDATA[Long hours and low pay are standard, all-nighters are a badge of honour, and leaving on time is derided as lacking the necessary commitment and 'working by the clock’. Why is architecture as a profession so notoriously tough on staff: Is it passion for the craft that piles on the pressure? An old-school macho mentality? Or does it all stem from the competitive unit/crit-system in education? 

In turn architects are themselves part of a broader property investment and construction industry that can be combative and confrontational in its pursuit of control and profit such that it can often feel like a thoroughly unpleasant environment to work within.

Abuse comes in many guises with bullying, intimidation, discrimination, harassment, humiliation, misconduct and defamation. It operates in areas from the financial, to the emotional and the psychological. With abuses of power, rank, process and statistics, is it not the overall system in which architects find themselves the most significant thing being abused?

What needs to be done? Who is being marginalised in practice? Who is creating a work environment that's open to and safe for all? Who are the real bullies?

Speakers:

India Block, Dezeen  (Chair) 
Fiona Scott, Gort Scott Architects
Sarah Castle, IF-DO
Tyen Masten, Phase 3
United Voices of the World's Section of Architectural Workers]]>
      </description>
      <content:encoded>
        <![CDATA[Long hours and low pay are standard, all-nighters are a badge of honour, and leaving on time is derided as lacking the necessary commitment and 'working by the clock’. Why is architecture as a profession so notoriously tough on staff: Is it passion for the craft that piles on the pressure? An old-school macho mentality? Or does it all stem from the competitive unit/crit-system in education? 

In turn architects are themselves part of a broader property investment and construction industry that can be combative and confrontational in its pursuit of control and profit such that it can often feel like a thoroughly unpleasant environment to work within.

Abuse comes in many guises with bullying, intimidation, discrimination, harassment, humiliation, misconduct and defamation. It operates in areas from the financial, to the emotional and the psychological. With abuses of power, rank, process and statistics, is it not the overall system in which architects find themselves the most significant thing being abused?

What needs to be done? Who is being marginalised in practice? Who is creating a work environment that's open to and safe for all? Who are the real bullies?

Speakers:

India Block, Dezeen  (Chair) 
Fiona Scott, Gort Scott Architects
Sarah Castle, IF-DO
Tyen Masten, Phase 3
United Voices of the World's Section of Architectural Workers]]>
      </content:encoded>
      <pubDate>Mon, 03 Feb 2020 12:33:39 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/4bde94aa/f0d3623b.mp3" length="91924901" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/O9rbvE47wKModir7QA8fpNLmrQpZqlATjGizFvowvts/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9lY2Y3/YTEwZDZmNjFkYjBk/MjQzNGY5YjU1MGNj/OWYzMy5qcGc.jpg"/>
      <itunes:duration>5746</itunes:duration>
      <itunes:summary>Long hours and low pay are standard, all-nighters are a badge of honour, and leaving on time is derided as lacking the necessary commitment and 'working by the clock’. Why is architecture as a profession so notoriously tough on staff: Is it passion for the craft that piles on the pressure? An old-school macho mentality? Or does it all stem from the competitive unit/crit-system in education? 

In turn architects are themselves part of a broader property investment and construction industry that can be combative and confrontational in its pursuit of control and profit such that it can often feel like a thoroughly unpleasant environment to work within.

Abuse comes in many guises with bullying, intimidation, discrimination, harassment, humiliation, misconduct and defamation. It operates in areas from the financial, to the emotional and the psychological. With abuses of power, rank, process and statistics, is it not the overall system in which architects find themselves the most significant thing being abused?

What needs to be done? Who is being marginalised in practice? Who is creating a work environment that's open to and safe for all? Who are the real bullies?

Speakers:

India Block, Dezeen  (Chair) 
Fiona Scott, Gort Scott Architects
Sarah Castle, IF-DO
Tyen Masten, Phase 3
United Voices of the World's Section of Architectural Workers</itunes:summary>
      <itunes:subtitle>Long hours and low pay are standard, all-nighters are a badge of honour, and leaving on time is derided as lacking the necessary commitment and 'working by the clock’. Why is architecture as a profession so notoriously tough on staff: Is it passion for th</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #13 - 24.06.19. Who’s Your Daddy? : Breaking The Class Ceiling</title>
      <itunes:episode>5</itunes:episode>
      <podcast:episode>5</podcast:episode>
      <itunes:title>Negroni Talk #13 - 24.06.19. Who’s Your Daddy? : Breaking The Class Ceiling</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">8d7ee35c-76d9-4e40-a4d5-a73cd0bb328b</guid>
      <link>https://share.transistor.fm/s/e1662d22</link>
      <description>
        <![CDATA[Architecture has a difficult relationship with privilege. Everyone knows the profession is not diverse enough, which is not surprising given the fees and the length of time it takes to study. The general public see the image of the architect as aloof but when education was free we saw the rise of the working class architect. Norman Foster describes his childhood on the wrong side of the tracks in Manchester and now he is a global powerhouse. Could someone rise to prominence like this today or is the system rigged for Hooray Henrys and Sloane Rangers? 

Young practices are emerging which directly address the public good but some see this as another form of patronage to ease the guilt of a design-conscious elite. Should we challenge the status quo or accept that the master/servant culture which runs through British DNA is an  inescapable fact of life?

Speakers include:

Helen Parton, Journalist (Chair)
Ab Rogers, Ab Rogers Design
Ziona Strelitz, ZZA 
Lee Ivett, Baxendale
Tahera Rouf, RCKa]]>
      </description>
      <content:encoded>
        <![CDATA[Architecture has a difficult relationship with privilege. Everyone knows the profession is not diverse enough, which is not surprising given the fees and the length of time it takes to study. The general public see the image of the architect as aloof but when education was free we saw the rise of the working class architect. Norman Foster describes his childhood on the wrong side of the tracks in Manchester and now he is a global powerhouse. Could someone rise to prominence like this today or is the system rigged for Hooray Henrys and Sloane Rangers? 

Young practices are emerging which directly address the public good but some see this as another form of patronage to ease the guilt of a design-conscious elite. Should we challenge the status quo or accept that the master/servant culture which runs through British DNA is an  inescapable fact of life?

Speakers include:

Helen Parton, Journalist (Chair)
Ab Rogers, Ab Rogers Design
Ziona Strelitz, ZZA 
Lee Ivett, Baxendale
Tahera Rouf, RCKa]]>
      </content:encoded>
      <pubDate>Tue, 28 Jan 2020 16:33:08 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/e1662d22/d222c0e3.mp3" length="87336630" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/nrYotM2LWs5fEiSWIGOkQt0_Vmr72nulW1EVz5YrQAQ/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9jYzY0/N2NlNTViYzgyYmZi/NzcwMjM2MzVmNmM3/YjA0Yy5qcGc.jpg"/>
      <itunes:duration>5459</itunes:duration>
      <itunes:summary>Architecture has a difficult relationship with privilege. Everyone knows the profession is not diverse enough, which is not surprising given the fees and the length of time it takes to study. The general public see the image of the architect as aloof but when education was free we saw the rise of the working class architect. Norman Foster describes his childhood on the wrong side of the tracks in Manchester and now he is a global powerhouse. Could someone rise to prominence like this today or is the system rigged for Hooray Henrys and Sloane Rangers? 

Young practices are emerging which directly address the public good but some see this as another form of patronage to ease the guilt of a design-conscious elite. Should we challenge the status quo or accept that the master/servant culture which runs through British DNA is an  inescapable fact of life?

Speakers include:

Helen Parton, Journalist (Chair)
Ab Rogers, Ab Rogers Design
Ziona Strelitz, ZZA 
Lee Ivett, Baxendale
Tahera Rouf, RCKa</itunes:summary>
      <itunes:subtitle>Architecture has a difficult relationship with privilege. Everyone knows the profession is not diverse enough, which is not surprising given the fees and the length of time it takes to study. The general public see the image of the architect as aloof but </itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #14 - 29.07.19. Holidays In The Sun: Climate Petitions And Protest</title>
      <itunes:episode>4</itunes:episode>
      <podcast:episode>4</podcast:episode>
      <itunes:title>Negroni Talk #14 - 29.07.19. Holidays In The Sun: Climate Petitions And Protest</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">93be6140-c0fa-4022-9138-b605e0fe5acc</guid>
      <link>https://share.transistor.fm/s/814a138d</link>
      <description>
        <![CDATA[The architectural community is very upset about climate change. They have banded together and done a petition and everything. Problem is, all the big name practices that started it are using a hell of a lot of concrete and building beautiful airports and energy-guzzling skyscrapers. Also, some architects went along to Waterloo bridge and joined a protest party but what did it achieve? It’s high time we made a difference as an industry but actions speak louder than words and buildings can make more of a statement than statements alone.

Speakers:

Jan-Carlos Kucharek, RIBAJ (Chair) 
Julia Barfield, Marks Barfield
Paul Finch, World Architecture Festival
Maria Smith, Interrobang
Tom Bennett, Studio Bark]]>
      </description>
      <content:encoded>
        <![CDATA[The architectural community is very upset about climate change. They have banded together and done a petition and everything. Problem is, all the big name practices that started it are using a hell of a lot of concrete and building beautiful airports and energy-guzzling skyscrapers. Also, some architects went along to Waterloo bridge and joined a protest party but what did it achieve? It’s high time we made a difference as an industry but actions speak louder than words and buildings can make more of a statement than statements alone.

Speakers:

Jan-Carlos Kucharek, RIBAJ (Chair) 
Julia Barfield, Marks Barfield
Paul Finch, World Architecture Festival
Maria Smith, Interrobang
Tom Bennett, Studio Bark]]>
      </content:encoded>
      <pubDate>Tue, 28 Jan 2020 16:19:45 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/814a138d/7468f358.mp3" length="86623518" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/uaFgRVThYDKvGigxvMUZyfP-2WfNLVZYj7ElSzHdnCg/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS82OGYx/MTE2NWY0ZGYxNjA0/M2U5YjIwNDljMWU3/MjlkYy5qcGc.jpg"/>
      <itunes:duration>5414</itunes:duration>
      <itunes:summary>The architectural community is very upset about climate change. They have banded together and done a petition and everything. Problem is, all the big name practices that started it are using a hell of a lot of concrete and building beautiful airports and energy-guzzling skyscrapers. Also, some architects went along to Waterloo bridge and joined a protest party but what did it achieve? It’s high time we made a difference as an industry but actions speak louder than words and buildings can make more of a statement than statements alone.

Speakers:

Jan-Carlos Kucharek, RIBAJ (Chair) 
Julia Barfield, Marks Barfield
Paul Finch, World Architecture Festival
Maria Smith, Interrobang
Tom Bennett, Studio Bark</itunes:summary>
      <itunes:subtitle>The architectural community is very upset about climate change. They have banded together and done a petition and everything. Problem is, all the big name practices that started it are using a hell of a lot of concrete and building beautiful airports and </itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #16 - 30.09.19. Jobs For The Boys? Gender In Construction</title>
      <itunes:episode>3</itunes:episode>
      <podcast:episode>3</podcast:episode>
      <itunes:title>Negroni Talk #16 - 30.09.19. Jobs For The Boys? Gender In Construction</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">651203d2-ae9a-48a4-90f8-fa6ab800d362</guid>
      <link>https://share.transistor.fm/s/8f416707</link>
      <description>
        <![CDATA[We’ve had enough of the straight white male dominating the development industry. We need more diversity in leadership positions to invest in the places that will stand the test of time.

Things are beginning to change but from boardroom to building site, investors to interns, the gender imbalance across the built environment is a problem for everyone.

Are we satisfied that only 19% of board members of property industry companies are women? That only 1.3% of BAME groups work in the property industry? Or that 99% of all construction workers are male? Having more diverse decision makers will ensure that past mistakes aren’t repeated. 

From everyday sexism, glass ceilings, wolf whistles, “banter” and mansplaining, the industry has a lot to change. How can we ensure that women are applying for jobs in the built environment, staying in them and prospering in the profession? What changes can be made to better reflect the diversity that are the foundations of the city itself?

Speakers:

Christine Murray, The Developer (Chair) 
Danna Walker, Built By Us
Chris Brown, Igloo
Angharad Palmer, Pocket Living
Emily Lawrence, Jestico + Whiles]]>
      </description>
      <content:encoded>
        <![CDATA[We’ve had enough of the straight white male dominating the development industry. We need more diversity in leadership positions to invest in the places that will stand the test of time.

Things are beginning to change but from boardroom to building site, investors to interns, the gender imbalance across the built environment is a problem for everyone.

Are we satisfied that only 19% of board members of property industry companies are women? That only 1.3% of BAME groups work in the property industry? Or that 99% of all construction workers are male? Having more diverse decision makers will ensure that past mistakes aren’t repeated. 

From everyday sexism, glass ceilings, wolf whistles, “banter” and mansplaining, the industry has a lot to change. How can we ensure that women are applying for jobs in the built environment, staying in them and prospering in the profession? What changes can be made to better reflect the diversity that are the foundations of the city itself?

Speakers:

Christine Murray, The Developer (Chair) 
Danna Walker, Built By Us
Chris Brown, Igloo
Angharad Palmer, Pocket Living
Emily Lawrence, Jestico + Whiles]]>
      </content:encoded>
      <pubDate>Tue, 28 Jan 2020 16:14:14 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/8f416707/699f6bfa.mp3" length="90118484" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/rQJkfKYryzzpLLUjbubVxSQl3wmppmGVyh8_IDO7u2s/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS8wY2Zh/MDBkZGJhZTI4YzI2/Nzg1YWI3YzdiZjVk/YThmNy5qcGc.jpg"/>
      <itunes:duration>5633</itunes:duration>
      <itunes:summary>We’ve had enough of the straight white male dominating the development industry. We need more diversity in leadership positions to invest in the places that will stand the test of time.

Things are beginning to change but from boardroom to building site, investors to interns, the gender imbalance across the built environment is a problem for everyone.

Are we satisfied that only 19% of board members of property industry companies are women? That only 1.3% of BAME groups work in the property industry? Or that 99% of all construction workers are male? Having more diverse decision makers will ensure that past mistakes aren’t repeated. 

From everyday sexism, glass ceilings, wolf whistles, “banter” and mansplaining, the industry has a lot to change. How can we ensure that women are applying for jobs in the built environment, staying in them and prospering in the profession? What changes can be made to better reflect the diversity that are the foundations of the city itself?

Speakers:

Christine Murray, The Developer (Chair) 
Danna Walker, Built By Us
Chris Brown, Igloo
Angharad Palmer, Pocket Living
Emily Lawrence, Jestico + Whiles</itunes:summary>
      <itunes:subtitle>We’ve had enough of the straight white male dominating the development industry. We need more diversity in leadership positions to invest in the places that will stand the test of time.

Things are beginning to change but from boardroom to building site, </itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk #15 - 09.09.19. - Hot Gossip: Givin’ As Good As Ya Get!</title>
      <itunes:episode>2</itunes:episode>
      <podcast:episode>2</podcast:episode>
      <itunes:title>Negroni Talk #15 - 09.09.19. - Hot Gossip: Givin’ As Good As Ya Get!</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">1f801c3a-b7b9-403e-ad8a-b3cb766cfc55</guid>
      <link>https://share.transistor.fm/s/20040c9e</link>
      <description>
        <![CDATA[In the information age knowledge is power and architects now seem unwillingly to part with their juicy titbits. Back stories, Chinese whispers and insider information were once regularly traded as part of an intricate network of professional gossip. The act of giving away secrets was generous but architects could often expect information in return but in recent times many practitioners see their peers as competition and architectural opinion seems sanitised as a result. Is this a failing of our times, where gossip can no longer be seen as a  catalyst to new ideas, new debates, new worlds?

If you’re not part of the in-crowd there’s a good chance you’re missing out on jobs and opportunities because of the fear of nasty rumours and misinformation leaving an indelible mark. So, should architecture bring back the outrage and the Machiavellian intrigue to rumble things up and make our designs and propositions more cutting, more interesting, more fun? The truth? You can’t handle the truth!

Speakers:

Nigel Coates (chair)
Sir Peter Cook, CRAB Studio
Sadie Morgan, dRMM
Leanne Tritton, Ing Media
Amanda Baillieu, Archiboo]]>
      </description>
      <content:encoded>
        <![CDATA[In the information age knowledge is power and architects now seem unwillingly to part with their juicy titbits. Back stories, Chinese whispers and insider information were once regularly traded as part of an intricate network of professional gossip. The act of giving away secrets was generous but architects could often expect information in return but in recent times many practitioners see their peers as competition and architectural opinion seems sanitised as a result. Is this a failing of our times, where gossip can no longer be seen as a  catalyst to new ideas, new debates, new worlds?

If you’re not part of the in-crowd there’s a good chance you’re missing out on jobs and opportunities because of the fear of nasty rumours and misinformation leaving an indelible mark. So, should architecture bring back the outrage and the Machiavellian intrigue to rumble things up and make our designs and propositions more cutting, more interesting, more fun? The truth? You can’t handle the truth!

Speakers:

Nigel Coates (chair)
Sir Peter Cook, CRAB Studio
Sadie Morgan, dRMM
Leanne Tritton, Ing Media
Amanda Baillieu, Archiboo]]>
      </content:encoded>
      <pubDate>Wed, 22 Jan 2020 17:07:45 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/20040c9e/54b6af26.mp3" length="83651470" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/Ht6fx2ecDcPKczaPhTOI-hX1QIqNpit23Tv1yXq3S-k/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS80YWY4/YmQ0YmRkMjczYjI1/NDYxZDhmMDc5MjVj/MTY3My5qcGc.jpg"/>
      <itunes:duration>5229</itunes:duration>
      <itunes:summary>In the information age knowledge is power and architects now seem unwillingly to part with their juicy titbits. Back stories, Chinese whispers and insider information were once regularly traded as part of an intricate network of professional gossip. The act of giving away secrets was generous but architects could often expect information in return but in recent times many practitioners see their peers as competition and architectural opinion seems sanitised as a result. Is this a failing of our times, where gossip can no longer be seen as a  catalyst to new ideas, new debates, new worlds?

If you’re not part of the in-crowd there’s a good chance you’re missing out on jobs and opportunities because of the fear of nasty rumours and misinformation leaving an indelible mark. So, should architecture bring back the outrage and the Machiavellian intrigue to rumble things up and make our designs and propositions more cutting, more interesting, more fun? The truth? You can’t handle the truth!

Speakers:

Nigel Coates (chair)
Sir Peter Cook, CRAB Studio
Sadie Morgan, dRMM
Leanne Tritton, Ing Media
Amanda Baillieu, Archiboo</itunes:summary>
      <itunes:subtitle>In the information age knowledge is power and architects now seem unwillingly to part with their juicy titbits. Back stories, Chinese whispers and insider information were once regularly traded as part of an intricate network of professional gossip. The a</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
    </item>
    <item>
      <title>Negroni Talk#17 - 04.11.19. - The Crude The Bad And The Ugly</title>
      <itunes:episode>1</itunes:episode>
      <podcast:episode>1</podcast:episode>
      <itunes:title>Negroni Talk#17 - 04.11.19. - The Crude The Bad And The Ugly</itunes:title>
      <itunes:episodeType>full</itunes:episodeType>
      <guid isPermaLink="false">212f6dde-c92b-440d-a718-6ce7d4574eab</guid>
      <link>https://share.transistor.fm/s/8ce7eb60</link>
      <description>
        <![CDATA[Why does British Housing Look So Mean &amp; Nasty?
There is an unattractive truth about British housing: the vast majority of it is really ugly. The built environment industry is very good at heaping praise on innovative, game-changing projects with awards and extensive coverage in the media but in reality these schemes serve the smallest fraction of the population. On top of this, we are a nation obsessed with the outward appearance of our housing and ‘fitting in’ which drives planning conditions and results in mediocre responses to complex settings. And all this taking place during the one of the worst housing crises we’ve ever known!

There’s a frontier land out there of dodgy cowboy builders and racketeer businessmen. Who will ride in and save the day? Developers with a conscience who also know how to turn and profit? Architects with some backbone to stand up to their cost-cutting clients? Local authorities that have the wherewithal to game the system? It’s time to saddle up and find out…

Speakers:

Claire Bennie, Municipal (Chair) 
Jonny Anstead, TOWN
Paul Karakusevic, Karakusevic Carson Architects
Annalie Riches, Mikhail Riches
Cany Ash, Ash Sakula Architects]]>
      </description>
      <content:encoded>
        <![CDATA[Why does British Housing Look So Mean &amp; Nasty?
There is an unattractive truth about British housing: the vast majority of it is really ugly. The built environment industry is very good at heaping praise on innovative, game-changing projects with awards and extensive coverage in the media but in reality these schemes serve the smallest fraction of the population. On top of this, we are a nation obsessed with the outward appearance of our housing and ‘fitting in’ which drives planning conditions and results in mediocre responses to complex settings. And all this taking place during the one of the worst housing crises we’ve ever known!

There’s a frontier land out there of dodgy cowboy builders and racketeer businessmen. Who will ride in and save the day? Developers with a conscience who also know how to turn and profit? Architects with some backbone to stand up to their cost-cutting clients? Local authorities that have the wherewithal to game the system? It’s time to saddle up and find out…

Speakers:

Claire Bennie, Municipal (Chair) 
Jonny Anstead, TOWN
Paul Karakusevic, Karakusevic Carson Architects
Annalie Riches, Mikhail Riches
Cany Ash, Ash Sakula Architects]]>
      </content:encoded>
      <pubDate>Wed, 22 Jan 2020 16:52:16 -0100</pubDate>
      <author>Fourthspace</author>
      <enclosure url="https://media.transistor.fm/8ce7eb60/cb99724e.mp3" length="87816773" type="audio/mpeg"/>
      <itunes:author>Fourthspace</itunes:author>
      <itunes:image href="https://img.transistor.fm/YY6bzkU5yzfnrxLHKcbyMo57cItpRU9ejWng80NPV9I/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS8zODU1/ZmMwM2ExNTQ1NmYw/YWE5YmE3MGM0Nzky/MGE1MC5qcGc.jpg"/>
      <itunes:duration>5489</itunes:duration>
      <itunes:summary>Why does British Housing Look So Mean &amp;amp; Nasty?
There is an unattractive truth about British housing: the vast majority of it is really ugly. The built environment industry is very good at heaping praise on innovative, game-changing projects with awards and extensive coverage in the media but in reality these schemes serve the smallest fraction of the population. On top of this, we are a nation obsessed with the outward appearance of our housing and ‘fitting in’ which drives planning conditions and results in mediocre responses to complex settings. And all this taking place during the one of the worst housing crises we’ve ever known!

There’s a frontier land out there of dodgy cowboy builders and racketeer businessmen. Who will ride in and save the day? Developers with a conscience who also know how to turn and profit? Architects with some backbone to stand up to their cost-cutting clients? Local authorities that have the wherewithal to game the system? It’s time to saddle up and find out…

Speakers:

Claire Bennie, Municipal (Chair) 
Jonny Anstead, TOWN
Paul Karakusevic, Karakusevic Carson Architects
Annalie Riches, Mikhail Riches
Cany Ash, Ash Sakula Architects</itunes:summary>
      <itunes:subtitle>Why does British Housing Look So Mean &amp;amp; Nasty?
There is an unattractive truth about British housing: the vast majority of it is really ugly. The built environment industry is very good at heaping praise on innovative, game-changing projects with award</itunes:subtitle>
      <itunes:keywords>architecture urbanism</itunes:keywords>
      <itunes:explicit>No</itunes:explicit>
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