In a world where the built environment seems ever more shaped by invisible market forces, where modern architecture can seem to dissolve into a generic void, sometimes it takes a very special person to make a difference. Alexander Boris de Pfeffel Johnson was Mayor of London from 2008 until 2016, during which time he took a remarkably keen interest in the built environment, commissioning, guiding, and shaping all manner of different projects. With his achievements he showed us all that massive privilege, leaping ambition, no concern for detail and a wasp’s attention span needn’t hold you back when it comes to creating terrible architecture. Nincompoopolis examines the built legacy of Johnson’s tenure, from his embarrassing follies to the folly of his policies, and wonders if there’s anything that can be learned from letting someone like him have a go at one the world’s great cities.

How London was bought and sold by the Super-Rich, and what it means for the rest of us Who owns London? Today, the city is the epicentre of the world’s financial markets, an elite cultural hub, and a place to hide one’s wealth. In Alpha City, Rowland Atkinson tells the story of eager developers, sovereign wealth, and grasping politicians, all of which paved the way for the plutocratic colonisation of the cityscape. Atkinson moves through the gated communities and the mega-houses of the urban elite, charting how the rich live and their influence on the disturbing rise in evictions and displacements from the city. The book, fully updated, also looks at the capital’s prospects in the aftermath of Brexit and the pandemic, showing how the super-rich may capitalise on the crisis, increasing inequality and hardship.

We tend to think cities look the way they do because of the conscious work of architects, planners and builders. But what if the look of cities had less to do with design, and more to do with social, cultural, financial and political processes, and the way ordinary citizens interact with them? What if the city is a process as much as a design? Richard J. Williams takes the moment construction is finished as a beginning, tracing the myriad processes that produce the look of the contemporary global city. This book is the story of dramatic but unforeseen urban sights: how financial capital spawns empty towering skyscrapers and hollowed-out ghettoes; how the zoning of once-illicit sexual practices in marginal areas of the city results in the reinvention of culturally vibrant gay villages; how abandoned factories have been repurposed as creative hubs in a precarious postindustrial economy. It is also the story of how popular urban clichés and the fictional portrayal of cities powerfully shape the way we read and see the bricks, concrete and glass that surround us. Thought-provoking and original, Why Cities Look the Way They Do will appeal to anyone who wants to understand the contemporary city, shedding new light on humanity’s greatest collective invention.

In the late 1960s the world was faced with impending disaster: the height of the Cold War, the end of oil, and the decline of great cities throughout the world. Out of this crisis came a new generation of thinkers, designers and engineers who hoped to build a better future, influenced by visions of geodesic domes, walking cities, and a meaningful connection with nature. In this brilliant work of cultural history, architect Douglas Murphy traces the lost archeology of the present-day through the works of thinkers and designers such as Buckminster Fuller, the ecological pioneer Stewart Brand, the Archigram architects who envisioned the Plug-In City in the '60s, as well as co-operatives in Vienna, communes in the Californian desert, and protesters on the streets of Paris. In this mind-bending account of the last avant garde, we see not just the source of our current problems but also some powerful alternative futures.

A polemical history of municipal socialism in London - and an argument for turning this capitalist capital red again. A polemical history of municipal socialism in London -- and an argument for turning this capitalist capital red again. London is conventionally seen as merely a combination of the financial centre in the City and the centre of governmental power in Westminster, a uniquely capitalist capital city. This book is about the third London - a social democratic twentieth-century metropolis, a pioneer in council housing, public enterprise, socialist design, radical local democracy and multiculturalism. This book charts the development of this municipal power base under leaders from Herbert Morrison to Ken Livingstone, and its destruction in 1986, leaving a gap which has been only very inadequately filled by the Greater London Authority under Livingstone, Boris Johnson and Sadiq Khan. Opposing currently fashionable bullshit about an imaginary "metropolitan elite", this book makes a case for London pride on the left, and makes an argument for using that pride as a weapon against a government of suburban landlords that ruthlessly exploits Londoners.

This year, London's elected mayor and assembly turn twenty. But has London's mayoralty lived up to the expectations that were set for it? Have its three mayors been able to get to grips with the city's challenges? How have they responded to crises in the past – and what does the future hold? This important new book marks the twentieth anniversary of London's mayor and assembly and investigates the relative successes and challenges of the mayoralty to date, before asking what comes next for London. It combines analysis by experts with reflections from those closely involved in setting up, running and working with the Greater London Authority, alongside those who have held the position of Mayor of London themselves.

This interdisciplinary book brings together essays that consider how the body enacts social and cultural rituals in relation to objects, spaces, and the everyday, and how these are questioned, explored, and problematised through, and translated into dance, art, and performance. The chapters are written by significant artists and scholars and consider practices from various locations, including Central and Western Europe, Mexico, and the United States. The authors build on dialogues between, for example, philosophy and museum studies, and memory studies and post-humanism, and engage with a wide range of theory from phenomenology to relational aesthetics to New Materialism. Thus this book represents a unique collection that together considers the continuum between everyday and cultural life, and how rituals and memories are inscribed onto our being. It will be of interest to scholars and practitioners, students and teachers, and particularly those who are curious about the intersections between arts disciplines.

This landmark publication collects three decades of writing from one of the most original, provocative and consistently entertaining voices of our time. Anyone who cares about language and culture should have this book in their life. Thirty years ago, Jonathan Meades published a volume of reportorial journalism, essays, criticism, squibs and fictions called Peter Knows What Dick Likes. The critic James Wood was moved to write: ‘When journalism is like this, journalism and literature become one.’ Pedro and Ricky Come Again is every bit as rich and catholic as its predecessor. It is bigger, darker, funnier, and just as impervious to taste and manners. It bristles with wit and pin-sharp eloquence, whether Meades is contemplating northernness in a German forest or hymning the virtues of slang. From the indefensibility of nationalism and the ubiquitous abuse of the word ‘iconic’, to John Lennon’s shopping lists and the wine they call Black Tower, the work assembled here demonstrates Meades's unparalleled range and erudition, with pieces on cities, artists, sex, England, concrete, politics and much, much more.

As the social media revolution embeds itself in our daily lives, and as those who once consumed media become producers, established broadcast media producers are witnessing the dissolution of trust in their established authority. Mediated Space critiques contemporary intersections of Architecture and broadcast media that exploit spaces and places that are real, imagined or hybrids of the two in order to re-establish and strengthen the power of traditional capitalist mechanisms of production and consumption. Examining eight spatial constructions in North America, Europe, the Middle East and Africa, Mediated Space embarks on a global exploration of how architecture, spatial design and technology conspire in the service of global capitalism. In three thematic parts that focus on the automotive space of the city, the journalistic space of the news room and the mediated skyline of the city, Mediated Space makes an architectural critique of spaces that are rarely designed by architects but that are experienced every day by millions of people.

From the art deco factories of the 1920s to the skyscrapers of today, this illustrated architectural tour “whisks us through decades of London design” (Londonist). Shaped variously by war, economics, population growth, and design trends, the city of London has been molded by some of the greatest modern architects, and to this day remains a center of building design and experimentation. Through intricate graphic illustrations and accessible, entertaining text, London’s streets, structures, and transport systems of the last century are brought to life. Discover long-lost treasures such as the Firestone Factory and marvel at modern–day masterpieces like the London Aquatics Centre; delight in previously vilified social housing projects such as the Balfron Tower; and discover the drama behind bold, eccentric designs like the “Cheesegrater.” The city’s skyline can change in an instant. Modern London invites you to sit back and survey the scene so far.