The regular block that Cerdà put forward, as the supporting element of the buildings, was a square, 113-metre-wide block, with a 19.8 m chamfer. The intervention was carried out following complex, detailed and concise reasoning, whereby he introduced variables like the surface of the plot of land, the height of the building, density, etc. After obtaining eight possible main sizes and eight small variants, he finally chose the 113.28-metre-wide block. However, as you would expect of any good technician, he omits the decimal points and is left with the 113 metres used in the project.

Miquel Corominas and Joel Bages, ‘The Morphological Base of the Block’, in Joan Busquets and Miquel Corominas (dirs/eds), Cerda and the Barcelona of the Future: Reality Versus Project (Barcelona: Diputacio de Barcelona and Centre de Cultura Contemporania de Barcelona, 2009), p. 74.

The Typewriter v


Another year, another typewriter! Following on from last year’s vermilion Olivetti Valentine, and the trio of Underwoods which preceded it, Volume v of The Typewriter gets the yellow treatment with an Adler Contessa.

Volume v features another swathe of Antipodean poetic talent – curated as always by Elizabeth.


Last issue’s machine here http://guyhohmann.com/2012/07/29/the-typewriter/

Bricks & Stones

Tulse Hill Station, Tulse Hill, Lambeth, London

Sometimes in order to understand something complex, we break it down into its parts. So it is with me and cities. A city is an infinitely complex amalgamation of people, things & spaces, and so will confound someone like myself who has a (naive) desire to know it.

So in my quixotic quest to know the city, I have developed a strategy – to get to know the systems which make up the city. Finding the complexities of social systems perplexing and less than seductive, where better to start than with the most quotidian of construction systems – the brick.

To that end, I have begun a collection, and already I have learned the difference between English and Flemish bond, a stretcher and a header, the difference between herringbone and basket-weave.

Already threads are emerging in what pictures I take – fractures, repairs and joints in the system, or even, as in the photo from San Gimignano below, fake repairs to the system. Perhaps this simplest of urban systems may work it’s way into becoming analogous of other building blocks of the city.


Off via San Matteo, San Gimignano, Tuscany, Italy

Southwick Mews, Paddington, London


In Ersilia, to …

In Ersilia, to establish the relationships that sustain the city’s life, the inhabitants stretch strings from the corners of the houses, white or black or gray or black-and-white according to whether they mark a relationship of blood, of trade, authority, agency. When the strings become so numerous that you can no longer pass among them, the inhabitants leave: the houses are dismantled; only the strings and their supports remain.

Italo Calvino, Invisible Cities trans. William Weaver (London: Vintage 1997) p. 68

By the Thames

As you walk along the south bank of the Thames, opposite the City, you can’t help feeling like London is in a state of metamorphosis.  The old icons; the Tower Bridge, The Tower of London, and the historical attractions; The Golden Hind, HMS Belfast, are now in the company of so many gleaming glass towers that the feeling is of a city with one foot in the past and the other firmly in the future.