OK, so we took the piss out of the Policy Exchange crowd for seeing reds under the seats on the bendy buses. The group rights agenda. But the interesting thing about the Borisbus is that in a sense, it bears Dean Godson and Andy Gilligan out – design and architecture are, of course, deeply political activities. We shape the things we build, and thereafter they shape us, as Winston Churchill said to RIBA (twice – he believed in making aphorisms earn their corn).
Essentially, the new bus – pics here and here – is a bog standard Wrightbus double decker with some fibreglass styling features, meant to evoke the look of the Routemaster; there’s a funny asymmetric front end, a staircase, and an open platform that isn’t actually open, because it is behind a door which will be locked while the bus is in motion. This stuff is pure ornament – it is utterly without function. Neither is there actually going to be a conductor; the existing revenue protection patrols will occasionally be on board, and that’s it.
Now, the thing about adding a lot of nonfunctional stuff for the sake of style is that it has costs. The Postmodernist architects were fascinated by the way Las Vegas casinos and the like were basically huge industrial sheds, covered with playful flourishes of style, plush carpets, neon signs; but the reason why they could get away with this is that a huge clear-span shed is a pretty efficient solution for housing a business process of some kind, whether it’s a semiconductor fabrication line, a giant distribution warehouse, a brewery, or a giant exercise in legalised fraud controlled by Lucky Luciano. The huge plaster likeness of Nefertiti draped in purple neon canted over the entrance at 27 degrees from the vertical isn’t getting in the way of anything.
But this doesn’t work in a setting of engineering rather than architecture. Changing the internal layout of a bus affects its primary function directly; one of the key limiting factors in the capacity of a bus route is how long it takes to load and unload the bus, which determines how long it waits at each stop and therefore how fast it travels. Making people climb the stairs to get in and out has real performance consequences. As pointed out here, when the rear door is shut, anyone trying to get off the bus will have to push past people getting on to use the middle door.
Also, carrying around a platform and a staircase takes up space that could otherwise be used for…well, that could otherwise be used rather than pissed away on content-free curlicues. As pointed out here, the new bus has fewer seats downstairs than a Routemaster despite being 3 metres longer. I thought we were trying to take up less space on the street and improve the turning circle?
Of course, the reason why giant motorway-side warehouses and casinos can be like they are is that they are usually built in places where land is cheap and there is lots of space…like central London, right?
So what does this tell us about the design politics involved? The first, and obvious, point is that design has consequences. As a result of the whole daft crusade, for years to come, bus users will be putting up with a worse quality of service. Frequencies will be lower, because dwell times will be higher. Alternatively, London will just have to buy more buses to maintain frequency, and fares will go up. Using the buses will be a more exasperating and unpleasant experience than it is now (and that’s saying something). Further, people who for whatever reason find the stairs difficult are going to be punished.
Second, it’s the victory of form over content. It’s not a Routemaster; it certainly hasn’t had the years of kaizen that went into the original design and specifically into the hard engineering of it, the engine and drivetrain and running gear. It doesn’t even look much like one, but the key stylistic tropes are there in order to pretend it does. I’m surprised they didn’t stitch a Lacoste croc on it. And, of course, the costs of this shameless fuckery will endure.
Third, the past must have been better. There is really no reason at all to try to make a modern bus look vaguely Routemasteresque other than kitsch and nostalgia, and it’s no better for being Gill Sans/Keep Calm and Carry On kitsch rather than the Laura Ashley version. You bet there’s going to be a lot of this crap in the next few years. (Fortunately, it also looks like the official aesthetic of David Cameron is going to be achingly unfashionable, like an official aesthetic damn well should be.) But if there is any reason to be nostalgic for Routemasters, it should surely be for the unrivalled engineering record of high reliability; being nostalgic for slower boarding times is like being nostalgic for the good old days of rickets. Come to think of it, Tories do that as well.
In conclusion, this is modern conservatism, implemented in hardware, with your taxes. The obsession with PR, spin, and guff in general? Check. The heel-grinding contempt for the poor? Check. The pride in technical and scientific ignorance? Doublecheck. The low, ugly, spiteful obsession with getting one over on political enemies? (It’s of a piece with behaviour like this.) Check.
(via Boriswatch): “Never underestimate our masters’ obsession with outward form, as opposed to function and content.” That’s Gilligan, of course.
There’s a point where his risible little village idiot act crosses over into a demonstration of overt contempt for the public, and this is it. I propose to refer to him as Shower Jobby from now on, and I would like to see this elsewhere.