Day 3: Orbital Power Late last night, I stumbled upon the Time Out’s list of ‘Worst Architecture in London’, a kind of bullet pointed hierarchy of images accompanied by a short sentence or two of brief negativity. The very first building on that list was the collaboration between artist Anish Kapoor and engineer Cecil Balmond, the ArcelorMittal Orbit (aptly named after its metal providing sponsor). As I delved deeper into the story and the different socio-political and economical currents around The Orbit I assumed that I would find very little in the form of positive appreciation for the structure and perhaps even share the same sentiment myself. When the 2012 Olympic games were awarded to London in 2005, Boris Johnson decided to commission a sculpture that would embody London and act as ‘a vertical invitation to the games’, and this would be the catalyst for a huge design competition. Not surprisingly, Arcelor Mittal hoped that the sculpture (even prior to the decision of the winning design), would eventually represent a magnificently lit beacon not only for London, but also to showcase the wondrous versatility of steel. The overriding purpose of the structure was not to create a static artistic landmark only for the games, but one that would remain relevant and interactive with its visitors for years to come. The Orbit greets the visitor at ground level with an enormous steel horn hanging overhead, a recurring element in much of Anish Kapoor’s work. There are two different viewing platforms as well as two separate routes from top to bottom; the slow route comprises of a 455 step spiral staircase, exposing the visitor to the wind and elements and a dazzling sense of instability, simultaneously revealing the splendid views of the Olympic village. On the upper observation floor, the visitor is confronted with a large space, flanked by two huge curved mirrors (another Kapoor trademark) which have a disorientating effect before disclosing an extraordinary view of the skyline stretching approximately 20miles, British weather permitting obviously. The contortions of steel seem to actually move and wrap against each other as you walk around it, making the complicated tangle of metal feels monstrous and yet surprisingly organic. It is this complexity and intricate ferrous materiality that act as a gateway for frequent comparison between The Orbit and the Eiffel Tower. Anish Kapoor himself stated that; “the only comparison is the Eiffel Tower”. Whilst James Tarmy from Bloomberg added that looking at The Orbit is like “looking at the Eiffel Tower on acid”. Boris Johnson commented that it “[is] not an obvious structure, it’s more complicated that the Eiffel Tower, I don’t want to be chauvinistic, but its definitively more interesting to look at than the Eiffel tower and certainly more complicated than the Shard, which is just a child’s drawing of a spike.” Through all of these references I cant help but align some significant comparison between The Orbit and Talin’s Tower. Although never erected, it was intended as the ultimate challenge to the Eiffel Tower as the foremost symbol of modernity- a monument ‘made of steel, glass and revolution’. Whilst The Orbit’s role is perhaps not one originally intended to hold up the torch of revolution, due to our current climate and many decades of exposure to a postmodern saturation of ‘radical’ design, I still find that there are striking similarities between the two. Comparable features can, not only be drawn from their aesthetic appearance and materiality; spiraling skywards from a geometric base supported by an exposed skeleton of industrial steel, but also in their role as challengers, to the originally temporary, then-turned utterly iconic structure in Paris. This iconographic expectation and political weight has affected The Orbit, but not to the (negative) extent I would have imagined prior to this investigation. It seems as thought the ludicrously exaggerated features of the sculpture are stretched to a point past, revolutionary, past political stance and veer more towards a theme park experience. The design duo was really interested in geometry and the way that form and geometry give rise to structure. What Kapoor has done is tried to rethink the tower as something that does not mutually support, where the whole of the structure is in a twist, always off kilter, never quite vertical. It refuses to be an emblem. The colossal structure made light and accessible by its whimsical looping form and shiny red painted skin. The final result is a celebration of steel, chosen for its strength and modular structure, sourced from every continent in the world (a nod to the global spirit of the Olympic games) which also boasts some eco credentials; almost 70% of the steel came from scrapped cars and washing machines. In both the literal and the critical sense, the sculpture appears to almost be entirely based upon the deconstruction of previous engineering feats, whose fragments have in turn been blown up and amplified into a postmodern entity, the refusal of a singular image. Kapoor described the