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Walls Have Feelings poses unanswered questions from our immediate past, crucial for the future of the city: what was the cultural mindset leading to the triumph of Brutalism? What is the urban and domestic impact of large scale office building? Are there alternatives to the planners' city of object? and, Why does your flat leak?
This book uniquely brings to bear questions of urgent cultural relevance on critical design decisions. As such, it is of as much importance to architects, planners and students of design, as to students of cultural history, geography and all enthusiasts of cities and of film.
It is hardly possible to overdramatise the effects that the wholesale adoption of the Brutalist style - with its trademark bleak, uncovered, grey concrete - has had on the landscape of London. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index
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She begins with an analysis of post-war brutalist architecture, which elevated structural transparency to the moral authority of 'honestly' representing society, and as a consequence produced bland, dehumanised interiors and the tragically flimsy Ronan Point tower block. Roman Polanski's two films of interior horror, Repulsion and Rosemary's Baby are then used to discuss what happens when the apparently inviolable walls of modern apartment blocks are ruptured and disintegrate, allowing the outside to invade the inside world.
Moving from the home to the street, Julie Christie in Darling and Michael Caine in Alfie are presented as mirror images: the male/female flaneur, operating in the public space of the streets between the commodified interior of the home and the refeminised interior of the executive boardroom. In Jean-Luc Godard's One or Two Things that I Know About Her, the prostitute-housewife Jeanette is a victim of the same violence done to Paris by the construction of the Périphérique, the ringroad arbitrarily dividing the city; she is 'at one and the same time the whole of France... forced to live in the wrecked constituents of her own formerly coherent body'
Shonfield uses Marxist and structuralist theory to examine both how capitalism reinforces the division of labour with the spatial division between work and home, and how 'pollution taboos' operate to eliminate the viscosity that denies such separation. But the real power of Walls Have Feelings is its use of film as a temporary revelation, a medium that offers sudden and perplexing insights into the way that our houses are built and our cities manufactured.
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