[Reader-list] Centering the border

[Nazneen Anand Shamsi]

Dear Naeem,

Thank you for sharing a part of your draft. I was wondering about the design
of the plane itself. Much of the fatigue, I think, comes also from the fact,
that air travel is so functional. Seats within a plane are designed to
prohibit conversation. Cocooning is unabashedly promoted. Though air travel
reduces time and all that, but I think, waiting is institutionalized within
the logic a travel through air. The actual travel time might be reduced but
the ritual of waiting makes one lose sense of time. The other aspect I think
which amuses me, is how one voluntary loses and re-discovers one's luggage.
Like one loses and rediscovers time and space. One does not feel or sense
ones movement like one would by traveling through any other mode of
transport. In a way one could argue, that air travel sedates ones memory by
bracketing ones sense of time, place and space.

Regards

Nazo




On Sun, Oct 5, 2008 at 2:32 PM, Naeem Mohaiemen
<naeem.mohaiemen at gmail.com>wrote:

> Thanks Nazneen for posting very interesting review of the two airport
> books. I paste below an excerpt from the statement for a project we
> had proposed to Danish Arts Council a few years back: "Grounded".
>
> <<Temporality is overcome by what is a less-expansive form of HG
> Well's time-travel. International date lines allow us to advance or
> regress when we land in a new country. Long journeys mean that we
> "lose" or "gain" a day, provided we fly far enough. This transition
> across time is assisted by sleeping aids that try to "correct" our
> circadian rhythms. Even as flying becomes more complex, we go to great
> lengths to wrap ourselves in a cocoon of comfort and amnesia.
> Elaborate "sedative" distraction systems (eye masks, ear plugs,
> headphones, cabin socks, warm face towels, in-flight movies, gourmet
> meals, wine, and duty free shopping) cushion flight time and distract
> us from the reality of tensile pressure points and random events
> (mysterious accidents like TWA 800 and Egyptair 990). For the
> wealthier passenger, there is also the idea of hassle-free air travel
> as an exclusive service: air taxis for businessmen and special lines
> that bypass security lines for "pre-checked" individuals. Contrast
> this with the massive global flow of working-class immigration, most
> of which still travels by car, bus, train, ferry or ship. The vast
> majority of the world has never even boarded an airplane.>>
>
> > 400 plane hijackings, quickly leading to a massive upgrade in security,
> and
> > a new paradigm in airport design.'
> >
> > Regards
> >
> > Nazo
> >
> > ********************************
> >
> > http://www.newstatesman.com/books/2008/09/naked-airport-gordon-politics
> >
> >
> > Dreams of leaving
> >
> > Owen Hatherley
> >
> > Published 25 September 2008
> >
> >
> > Naked Airport by Alastair Gordon
> > Politics at the Airport Edited by Mark B Salter
> >
> >
> > One of the saddest stories of the 20th century is the fate of air travel.
> In
> > 1900 it was a dream, feverishly speculated upon, subject to all manner of
> > Jules Verne imaginings; by 1999 it was a chore, a tedious, uncomfortable
> > ritual undertaken in order to get from A to B. A large portion of the
> blame
> > for this depressing non-event can be laid at the airport, that
> warren-like
> > combination of the shopping mall and the high-security prison, which is
> the
> > focus in Britain for a tortured air-angst every summer.
> >
> > In 2008, what Evening Standard headline writers might pithily call
> "Heathrow
> > chaos" was centred on the botched opening of the new Terminal Five.
> Designed
> > by Mike Davies at Rogers Stirk Harbour, it was only the second
> aesthetically
> > distinguished structure at Heathrow - which ranges grimly from the
> > ridiculously inappropriate red-brick mannerisms of the control tower and
> the
> > original terminals to the claustrophobic hell of Terminal Four. Finally -
> > around 50 years after Owen Williams's brutalist BOAC hangar - a decent
> > building.
> >
> > Inside, Terminal Five is majestic: a thrillingly Constructivist space,
> with
> > huge spans of glass and steel, open to the expanse of the surrounding
> > airfield. Yet within weeks of opening, 28,000 bags were lost, and 500
> > flights cancelled. And to ensure that people milling around in limbo keep
> > themselves busy spending money, the terminal only has 700 public seats.
> > Today, amid the airline bankruptcies, an advert declares "Terminal Five
> is
> > working", as if we should be impressed.
> >
> > This tragicomic distinction between the airport as (sometimes) designed:
> as
> > metaphor for speed, transience and progress; and airport as used: as
> mall,
> > panopticon and fiercely guarded border, runs through Alastair Gordon's
> > brilliant Naked Airport. This is an impressively illustrated,
> comprehensive
> > "cultural history" of airports as buildings, from the earliest days of
> > makeshift sheds and hangars to the vast, glassy terminals designed by
> > architectural multinationals such as Foster + Partners. The book's
> narrative
> > begins two decades after the Wright brothers, and after the widespread
> > deployment of fighter-planes in the First World War. The airport became a
> > focus for speculation about design and modernity between the 1910s and
> the
> > 1930s, appropriately at a time when architects were full of futurist
> > fantasies about cities in which flight and movement determined form.
> >
> > Unsurprisingly, the earliest of these speculative schemes were those of
> the
> > Italian Futurists. The draughtsman Antonio Sant'Elia's still stunning
> cities
> > of ruthless modernity tended to feature airports in very inappropriate
> > places. Gordon notes that few architects had serious knowledge of the
> > mundane practicalities of landing and take-off. Le Corbusier, whose
> > insistence that "an airport should be naked" provides the book's title,
> > proposed that an airport be at the heart of a city, much like a rail
> > terminus. In his 1922 design project, "Contemporary City for Three
> Million
> > Inhabitants", the airport is at the centre of a Cartesian grid of
> > skyscrapers, with the planes flying dangerously close to the glass walls.
> > Meanwhile, actual flights and actual terminals at this point were a
> strange
> > combination of shabby and aristocratic. Lindbergh's transatlantic flight
> > ended with his landing on a mud track, while early flyers were almost
> always
> > members of the upper-crust, usually either Americans taking advantage of
> the
> > Monroe Doctrine to laze in the Caribbean, or British and French
> travellers
> > sunning themselves in the colonies. One decidedly racist 1920s poster for
> > PanAm depicts a grinning black porter taking the bags of stylised,
> glamorous
> > figures.
> >
> > The Jazz Age's flappers and flyers travelled through shoddy airfields,
> via
> > clumsily neoclassical terminals. Gordon argues that the first place truly
> to
> > find an appropriate form for the airport was Europe. Glass and concrete
> > created calm, rationalist spaces, without unnecessary reference to past
> > forms. By the 1930s, Amsterdam or Hamburg were leading the world, making
> New
> > York and Washington, for all their surface glitter, look staid. Gordon
> > devotes a whole chapter to the Roosevelt administration's interventionist
> > response. Massive public spending andnationalisation created a network of
> > publicly owned fac ilities such as Washington's "People's Airport".
> These,
> > although they still hedged their bets stylistically between reassuring
> > classicism and vertiginous modernity, were at least vastly more efficient
> > than their colonial-style precursors.
> >
> > Gordon notes that, as ever, war was a motor for technological progress in
> > airport design, particularly in the Axis countries. From 1936,
> > Berlin-Tempelhof was the world's largest airport, in a modernised
> classical
> > style that would be dubbed "Luftwaffe Modern", as nobody was in any doubt
> > about why Germany needed such a huge facility; and in early 1940s Italy,
> > Pier Luigi Nervi designed intricate, gravity-defying han gars that would
> > greatly influence a generation of postwar architects.
> >
> > The author also finds intriguing material on the camouflaging of American
> > airports, against the Japanese or German attack that never came -
> disguising
> > them as residential exurbs, which in turn gave way to actual exurbs
> growing
> > round the naked airports themselves after the war. The most fascinating
> > chapters are those that deal with the postwar years, where within a
> decade
> > the airport went from the most optimistic space in America to the site of
> > hijackings, security and surveillance.
> >
> > Naked Airport has much on Eero Saarinen's breathtaking TWA Terminal at
> JFK,
> > a swooping expressionistic fantasy - not only does a brief
> autobiographical
> > description of it open the book, but a chapter on the "Jet Age" features
> > incredible illustrations of this improbable building. Designed as a
> gigantic
> > concrete bird, it provided the most emblematic structure of a
> semi-fictional
> > world of allegedly willing air hostesses, fetishistic synthetic uniforms,
> > and wildly futuristic designs. Today, it serves as the unacknowledged
> > blueprint for the career of the currently fashionable Spanish
> > engineer-auteur Santiago Calatrava. Yet between 1969 and 1978, there were
> > 400 plane hijackings, quickly leading to a massive upgrade in security,
> and
> > a new paradigm in airport design. Gordon claims that the manager of
> > Dallas/Fort Worth took as a model an advert depicting a passenger moving
> > seamlessly from car to port to plane, without any contact with the
> outside
> > world.
> >
> > After the shock of terrorism, and Jimmy Carter's deregulation of US
> > airlines, airports became stealthy, paranoid structures, centred on
> shopping
> > and surveillance. The book outlines how easily the 9/11 hijackers passed
> > through security, so another level of increasingly tedious and invasive
> > frisking and scanning arrived in the aftermath. Meanwhile, the seemingly
> > more optimistic models - the glass hangars of the 1990s and into the 21st
> > century, by Rogers, Foster, Calatrava et al - have their own sinister
> > underside. Gordon notes that Chek Lap Kok, Foster's huge Hong Kong
> sky-city,
> > was constructed by helots, whose standard of workmanship was unimpressive
> -
> > within a year, the building was a laughing stock. The constant expansion
> of
> > the airport is as spatially rapacious as it is ecologically disastrous,
> to
> > the point where it becomes difficult to pinpoint exactly where it begins
> and
> > ends, as anyone disturbed by the in-train films and muzak on the Heathrow
> > Express train will have noticed.
> >
> > The extremely bleak prognosis that ends Naked Airport is shared by
> Politics
> > at the Airport, a collection of academic papers edited by Mark B Salter.
> > >From the start, the editor (unfairly) classes Naked Airport as a work of
> > technocratic boosterism, and the book sniffily dismisses Marc Augé and J
> G
> > Ballard's ambiguous eulogies to airports as seamless, transient, clean
> and
> > serene "non-places" as the perspective of the privileged. Instead, Salter
> > and his contributors - mostly specialists in the study of surveillance
> and
> > security - concentrate on the spatial politics of the airport after 9/11.
> > Politics at the Airport stresses that, in Deleuze and Guattari's terms,
> the
> > airport both "deterritorialises" and "reterritorialises".
> >
> > It might appear to the frequent traveller as a smooth international zone
> > under a steel and glass canopy, but to the asylum-seeker or the terrorist
> > suspect, the airport is an effective high- security border with attached
> > prison. Colin J Bennett's essay notes that the US government's lists
> > prohibiting flight have included Bolivia's socialist president Evo
> Morales,
> > children, and anyone with the name David Nelson. Gallya Lahav writes on
> how
> > an intricate system of private-public partnerships means an all-pervasive
> > retail obsession coexists with the armed might of the state in the same
> > space. Others profile the recent use of a "biometrics" that makes the
> body
> > itself the locus of security, with passengers being identified by scans
> of
> > the iris - it seems airports are taking their inspiration from Philip K
> > Dick's stories of non-people condemned in non-places.
> >
> > Politics at the Airport's blizzard of acronyms and academic name-checks
> > belies its importance as a reminder that the airport is a deeply sinister
> > space, no matter how much architectural "transparency" might try to
> restore
> > some of its tarnished glamour. The final essay, Gillian Fuller's "Welcome
> to
> > Windows 2.1" takes a critical look at the Foster/Rogers rhetoric of
> > transparency, which "alternates between an illuminating display of what
> was
> > previously hidden to the dark suspicions of 'what have you got to
> hide?'''.
> > With that, we're back at Terminal Five, glassily housing a source of
> > environmental catastrophe, central to a society of shopping and
> > surveillance.
> >
> > Naked Airport: a Cultural History of the World's Most Revolutionary
> > Structure
> >
> > Alastair Gordon University of Chicago Press, 320pp, £9
> >
> > Politics at the Airport
> >
> > Edited by Mark B Salter University of Minnesota Press, 240pp, £12.50
> >
> >
> > ------------------------------
> >
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> > End of reader-list Digest, Vol 63, Issue 23
> > *******************************************
> >
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