The irreverent architecture debate Turncoats launches in New York City.
Turncoats: The Latest Architecture and News
Turncoats, the irreverent architectural debate society from London, is launching an international series, starting chapters in Canada, Scotland, Serbia and the US. Originally created by Phineas Harper, Maria Smith and Robert Mull, Turncoats has “electrified London’s architectural scene” since its inception.
Combining architectural debate with unique settings, alcohol, and an absence of recordings or wireless devices, Turncoats has gathered significant attention, their signature flaming envelope emblem appearing on lapels across the city, and soon all over the world.
“I’d like you to join me in hell” declared Catherine Slessor, the first female editor of The Architectural Review in her opening speech for the design debate series Turncoats in late November. What followed was a blistering, hilarious and poetic assault on the world of vanity publishing confided to an audience of 200 critics, architects and designers in SelgasCano’s Second Home. Normally a review such as this one might be accompanied with a film of the event itself, but in this case that is impossible due to Turncoats’ blanket ban on digital recording equipment (including phones) - one of numerous theatrical twists which have made this unassuming project one of the hottest tickets in town.
Turncoats is the creation of former AR Deputy Editor and current Deputy Director of the Architecture Foundation Phineas Harper, Studio Weave and Interrobang founder Maria Smith, and esteemed educator Professor Robert Mull, backed by the Cass architecture and art school. The series is like a hedonistic mash-up of an old school debating society and a ritualistic drinking game. Vodka shots, comedy warm up acts, sexy venues and mischievous polemical propositions make every Turncoats event a surreal and thought-provoking evening. The masterstroke is that not every invited panellist is speaking their mind – some are purely playing devil’s advocate. This reality-bending twist naturally invites a theatricality which blurs the line between argument and arguer, enabling a frankness of architectural debate rarely seen in our nervously polite industry.