A Tale of Two Barbicans

          The term ‘Barbican’ refers to a medieval outer fortification or defensive gateway, the traces of which can be found all over Europe. I was at two of them last week, though nothing remains but the name. In London, the Barbican Centre is a monster of a modernist, post-war housing estate that contains a cultural hub and was built at or near a former entrance to the Roman walls of Londinium. In Plymouth, the Barbican comprises the characterful streets surrounding the original docks below a medieval fortress, now given over to tourism and fishing.

          I’ve often dallied with the notion of living in one of the Barbican Centre’s flats, since they are not only to my architectural taste but also conveniently connected by walkways to cinemas, theatres, galleries, restaurants, a public library and a clinic. However, as I made my way last week through the brick-and-concrete maze in search of the (new) art gallery, I noticed that the infrastructure is showing its age and in need of costly repairs. The prospect of rising service-charges had a dampening effect on my erstwhile enthusiasm for moving in.

          I was there to see sculptures by Alberto Giacometti set alongside work by the living sculptor, Huma Bhabha. The concept, I think, is to highlight ways in which the contemporary artist references their predecessor’s work. Perhaps it was crass of me to look for obvious connections – though I did see them and consider such comparison useful as a tool of appreciation. In any case, Giacometti resonated with me more than Bhabha, a case, perhaps, of familiarity breeding comfort.

          On that same day, and acting on a friend’s recommendation, I went to see an exhibition of traditional Japanese woodcraft. The narrative is that Japan’s scarcity of metal ores fostered the development of sophisticated techniques for joining wood without metal fastenings. That necessity, combined with dedication to the traditions of craft as a calling and the cultural and spiritual connections between the buildings – especially temples – and the trees from which they were constructed resulted in the exquisite execution of the most complex, effective and aesthetically accomplished wood joints ever achieved. I was in awe.

          The next day, I was back in Plymouth, just in time to catch the last few events marking Tree Week, a celebration of all things arboreal. I spent a couple of hours on a sunny afternoon under the trees in a re-wilded corner of a park, where there was Morris dancing and community-choir singing “Hurrah to the life of a country boy!”. Though I had missed events earlier in the week, there were some that I would not have attended anyway, i.e. those at the spiritual end of the spectrum, where therapies such as forest bathing inhabit a space outwith my predilections. However, as I observed an actual, orange-tipped butterfly settle on a brilliantly blue cornflower, I felt a faint flutter of kinship with nature, a glimmer of empathy with the Japanese ethic. The closing party that evening was at my favourite local café/bar and featured a specially composed musical whimsy evocative of forests and the sounds of nature. The duo, a guitarist and vocalist, applied their artistry to magical effect, luring me even further into the spiritual camp, despite my innate scepticism.

          The sun shone down again the next day, when I cycled over to the Barbican to savour another celebration, Pirate Weekend, a popular event in the annual cultural calendar. Pirate caricature was everywhere. Some of the outfits worn by enthusiasts were earnestly authentic, while others were determinedly comical. But the appeal of the theme soon wore thin for me. It could have been sustained by, say, a performance of Gilbert and Sullivan’s classic, The Pirates of Penzance, but perhaps that would be considered too highbrow?