Ballard on Modernism

A handful of dust

The modernists wanted to strip the world of mystery and emotion. No wonder they excelled at the architecture of death, says JG Ballard

Few people today visit Utah beach. The sand seems colder and flatter than anywhere else along the Normandy coast where the Allies landed on D-day. The town of Arromanches – a few miles to the east and closer to Omaha, Gold and Sword beaches – is a crowded theme park of war museums, cemeteries and souvenir shops, bunkers and bunting. Guidebooks in hand, tourists edge gingerly around the German gun emplacements and try to imagine what it was like to stare down the gun sights at the vast armada approaching the shore.

But Utah beach, on the western edge of the landing grounds, is silent. A few waves swill over the sand as if too bored to think of anything else. The coastal land seems lower than the sea, and fails to echo the sounds of war inside one’s head.

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The Triangular Lodge

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England is filled with curious buildings, follies as they’re commonly known, most of them the creation of wealthy landowners with time on their hands and a degree of imagination. Many of them are fake ruins, imitations of antiquity or classical architecture intended to add a degree of romance to a picturesque landscape. Some buildings are simply unusual, however, and one of the strangest of all is Sir Thomas Tresham’s Triangular Lodge near the village of Rushton, Northants. Nearly ever aspect of the building’s design and decoration relates to the number three, a reference to the Holy Trinity and Tresham’s religious convictions.

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Archigram

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In late 1960, in various flats in Hampstead, a loose group of people started to meet: to criticize projects, to concoct letters to the press, to make competition projects, and generally prop one another up against the boredom of working in London architectural offices. The main British magazines of the time did not publish student work and Archigram was responding to this as much as to the sterility of the scene. The title Archigram came from the notion of a more simple and urgent item than a Journal, like a telegram or aerogramme – hence, “archi(tecture)-gram”.

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