Gabion: Retained Writing on Architecture
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Utopia on Trial.

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Why is it that nearly all designers of Utopian cities down the centuries have been, consciously or subconsciously, classicists? Why are all the plans so relentlessly, geometrically, symmetrical? Why are they so complete-in-themselves, so incapable of expansion or other change? Where is the rambling, gothic Utopia that allows for growth and happenstance?

Almost nowhere. The nearest we get to an organic Utopia in this book is the one suggested by William Morris in his “News from Nowhere” of 1892. Morris imagines an England in the year 2102 where a truly communist society, with no state machinery to control it, arranges itself naturally in irregular, naturally-formed towns with lots of greenery, no crime, and only enjoyable work. Morris sees the new England as a place of many such settlements rather than a few large metropolises. America’s Frank Lloyd Wright was to formalize Morris in his own unbuilt Utopian project, Broadacre City.

Morris’s and Wright’s ideas chime in with a lot of currently modish thinking about town and country, which tend to reject the Le Corbusier/Richard Rogers dense-city prescription in favour of a loose net of smaller communities in the countryside. Rogers is such a convinced Utopian that I am very surprised to find him nowhere in this book. Ruth Eaton for some reason concludes her survey in the 1970s, before Rogers got going on his classic modern utopia of Lu Jia Zui, a new circular city proposed outside Shanghai, designed 1992-94 and of course never built. Its concentric rings of different activities were very much in the Utopian tradition. But the plan of Lu Jia Zui, in a touch of bathos, lived on only in the interior layout for the Millennium Dome.

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