The suburb’s respectability was a huge attraction for me at the anxious moment of buying a flat. But after a few years of living there, that same respectability had become a bore. Then it became oppressive. The buildings began to represent a desiccated social life, defined by emotional reserve and obligation. Patrolled by curtain-twitching killjoys, Morningside seemed determined to put a stop to fun of any kind.
In retrospect, Morningside itself probably had little to do with it. Moving there coincided with the moment at which my wife and I became fully grown adults. It was a structural problem. With two careers, two kids and no money, there was little time for pleasures, sex included. Of course, we bore it all stoically and, after a while, we learned together that this was simply what adult life was like, a mess of contradictory demands, with neither the time nor the space in which they might all be satisfied. We were hardly alone: every other couple we knew seemed to find themselves in the same situation. Still, our feelings were real enough, and being an academic, I set to reading about them.
It’s odd how little architects have had to say on the subject of sex. If they’re routinely designing the buildings in which sex happens, then you might expect them to spend more time thinking about it. Buildings frame and house our sexual lives. They tell us where and when we can, and cannot, have sex, and with whom. To escape buildings for sex — to use a park, a beach, or the back seat of a car — is a transgression of one kind or another. Most of us keep sex indoors and out of sight.
An important early find in my reading was Mating in Captivity (2006) by Esther Perel, the New York-based sex therapist. According to Perel, sex wastes time, needs space, and (most intriguingly) is inhibited by too much intimacy. All these things have implications for architecture, which in the West has been coloured by the language of efficiency for at least a century. By contrast, in Perel’s terms, sex was profligacy and decadence. She also remarked that ‘sexual desire and good citizenship don’t play by the same rules’.
This struck a chord. I had long been bothered by the architectural concern for civility. The sudden proliferation in the 2000s of National Lottery-funded public spaces in the UK seemed to be rooted in a longing to return to Edwardian times, with all the attendant anxieties about sex and class. This longing was abundantly clear in Foster and Partners’ redevelopment of Trafalgar Square (2003): a magnificent architectural project, but one that limited human behaviour to the polite promenade. Perel’s understanding of the limits of civility, from a sexual point of view, helped me to form a powerful critique of architecture. In sum, architecture was principally about order; sex was not.
by Richard J. Williams, Aeon | Read more:
Le Corbusier's Unité d'Habitation complex in Marseilles (1952). Photo by Stephen Burrows
