Circling the Square: RIBA Exhibition Review

Two iconic schemes, two brilliant architects, one London exhibition. Did the RIBA succeed in comparing what is and what could have been? Read below.

By Julia Korpacka

Not often does an exhibition about architecture focus on the design process that goes beyond the aesthetic finish. Even less often it offers a chance to have an insight into what happens after the design stage, that has more to do with PR and marketing than actual architecture. Public inquiries, the letters between the (more or less involved) parties, publicity campaigns – these show what a complex and difficult process it is to actually see a building completed. The RIBA retrieved a great amount of archive materials to commemorate two iconic schemes – the unrealised Mansion House Square by Mies Van der Rohe and its built successor – James Stirling’s Number One Poultry. Although I don’t find either of those projects entirely successful in terms of combining aesthetics with consideration of the context, I must say the RIBA did a great job presenting a thorough examination of the thought behind both schemes. Circling the Square shows, despite the obvious stylistic dissimilarity between the two proposals, the notso-obvious resemblance in the consistency of approach of the two architects.

It is the consideration of detail that make Circling the Square not only interesting but also a very enjoyable experience. The impressive collection includes the Stirling’s famous ‘worm’s eye’ axonometric views showing incredible skill and thorough consideration of every angle of the scheme.

The copies of the sets of Mies’ drawings can be browsed through as if through the originals. My favourite piece is a travertine ashtray designed by Van der Rohe, highlighting his attention in projects he worked on. However the crown jewel of the collection is a detailed site model of Mies’ scheme which is one of the most impressive architectural models ever made, displayed for the first time in over 30 years.

The exhibition’s focus shifts from the socio-political context to the buildings themselves as one moves through the space. In this way, any changes in the designs or controversies around them are understandable. Similarly, Stirling’s incorporation of some of the features of Mies’ scheme and the neglect of others are possible to trace without a thorough background research. Contrary to what we are used to, the purpose of this exhibition is not to make us like the proposals, but rather understand both.

It is quite relieving, not having to choose the better one while being able to examine the advantages and disadvantages of both. I am glad that I don’t have to appreciate the postmodernist architecture of the Number One Poultry. I am equally happy having learned why ‘Mies is great. London is greater.’1

Although the amount of reading material may be quite overwhelming at first, you can discover how important it is to have the support of fellow architects or find out how Prince Charles almost made James Stirling resign his RIBA Royal Gold Medal. Circling the Square gives a fantastic insight into the political, social and architectural context the schemes were conceived in and is definitely worth paying a visit.

Mies van der Rohe & James Stirling: Circling the Square, 8 March — 25 June RIBA, London