Architecture May 2011

The Nostalgia Trap

In Brooklyn and London, the future is losing to the past.
Stacy Walsh Rosenstock

In late 1976, Pink Floyd arranged to have a pig-shaped helium balloon the size of a double-decker bus raised above the hulking Battersea Power Station on the Thames in London for a photo shoot. The balloon escaped its tether and the pig floated away, eventually landing in a distant pasture and badly frightening some cows. But the image of pig and brooding power plant was committed to film, and later graced the cover of the group’s album Animals.

So when talk of demolishing the station arose in 2005 (it hadn’t been running since 1983), Pink Floyd fans rushed to the barricades. “You don’t dare to touch my chimneys,” one declared on a fan site. Demolition would be “an act of vandalism,” wrote another. “Every effort should be made to save Battersea.”

The monumental structure, designed by Sir Giles Gilbert Scott and built in stages beginning in 1929, is now safe from the wrecking ball. After more than a quarter-century of debate, London’s mayor signed off on a plan late last year that puts the iconic brick structure and its smokestacks at the center of a development of mid-rise apartments, offices, and entertainment venues. The project encompasses almost 40 acres and will cost nearly $9 billion.

Across the Atlantic, in Brooklyn, another monumental project on a former industrial site is also finally moving ahead. The Domino Sugar Refinery in Williamsburg sits on nearly a dozen prime acres facing the East River. It’s long been a sentimental favorite—the 40-foot-high Domino Sugar sign, with its jaunty script, sits like a comic-book dialog balloon over a grim Ashcan School tableau. The sugar factory closed in 2004; shortly afterward, it was acquired by the for-profit arm of a nonprofit seeking to build affordable housing. In 2007, the city landmarked the 1880s-era Romanesque Revival sugar refinery at the heart of the complex, and plans for its redevelopment called for residential towers to flank the old factory, much of which would itself be converted to apartments. Missing from the initial designs? The Domino sign. “It just looks empty, like there is a void,” Dewey Thompson, a member of Brooklyn’s Community Board 1, told a New York newspaper after seeing the designs at a meeting. Back to the drafting table: under revamped plans, a refurbished sign will glow again from atop the remodeled refinery.

The London and New York projects have several things in common. Chief among them: Rafael Viñoly, the Uruguayan-born, Argentinean-raised, New York–based architect famed for soaring steel structures such as the Tokyo International Forum and Seoul’s Samsung Jong-ro Tower. In charge of the master plan in both cases, he is designing new edifices for each site. But something else is worth noting: in both projects, Viñoly and his co-developers are trying to map a route through the hazy and treacherous borderlands that lie between architectural history and public nostalgia.

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Wayne Curtis is an Atlantic contributing editor.

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