The Observer’s Rowan Moore “accidentally got swept into a tide of humanity at the weekend, or to put it another way, couldn’t move for crowds.” In memorial of the start of the centenary of World War One, of which today marks the anniversary of the armistice (11.11.1918), the Tower of London have installed a sea of 888,246 ceramic poppies in the former moat. The artwork, created by Paul Cummins and Tom Piper, and entitled Blood Swept Lands and Seas of Red, ”has caught the national imagination.” For Moore, however, “it is deeply disturbing that a hundred years on from 1914, [the UK] can only mark this terrible war as a national tragedy.” He argues that “the spectacle of all these red poppies is emptier than that. [...] It is a deeply aestheticised, prettified and toothless war memorial.” Read the article in full here.
While the Eiffel Tower was negatively received at first for its utilitarian appearance, it soon became a major attraction for Paris, France in the late 19th century. It represented structural ingenuity and innovation and soon became a major feat, rising to 300 meters of7,500 tons of steel and iron. Just three years after its unveiling, London sponsored a competition for its own version of the tower in 1890. The Tower Company, Limited collected 68 designs, all variations of the design of the Eiffel Tower. Proposals were submitted from the United States, Canada, Germany, Sweden, Italy, Austria, Turkey and Australia. Many of the designs are bizarre interpretations of utilitarian structures, following the aesthetics of the Eiffel Tower, only bigger and taller.
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