What makes the city of the future? How do you heal a divided city?
In Radical Cities, Justin McGuirk travels across Latin America in search of the activist architects, maverick politicians and alternative communities already answering these questions. From Brazil to Venezuela, and from Mexico to Argentina, McGuirk discovers the people and ideas shaping the way cities are evolving.
Ever since the mid twentieth century, when the dream of modernist utopia went to Latin America to die, the continent has been a testing ground for exciting new conceptions of the city. An architect in Chile has designed a form of social housing where only half of the house is built, allowing the owners to adapt the rest; Medellín, formerly the world’s murder capital, has been transformed with innovative public architecture; squatters in Caracas have taken over the forty-five-storey Torre David skyscraper; and Rio is on a mission to incorporate its favelas into the rest of the city.
Here, in the most urbanised continent on the planet, extreme cities have bred extreme conditions, from vast housing estates to sprawling slums. But after decades of social and political failure, a new generation has revitalised architecture and urban design in order to address persistent poverty and inequality. Together, these activists, pragmatists and social idealists are performing bold experiments that the rest of the world may learn from.
Radical Cities is a colorful journey through Latin America—a crucible of architectural and urban innovation.
Text and Image via VERSO Books
Recover the Streets arises from the need to interconnect different European projects that work with urban art in their respective cities; the need to offer artists the possibility of interacting with other European creators, of improving their visibility and finding new expression formulas; the need to boost urban art as a regenerator of new city visions; to create participative processes that bring culture, and in this specific case, urban art, closer to population sectors that do not normally participate in cultural events.
Recover the Streets is a collaboration project between five European cities that, using urban art as a tool and common language, purport to interconnect artists and cultural agents from all these cities, promoting the exchange of artistic and social experiences; recovering, in each one of them, a debased space by means of a collaborative process that engages the social agents of the neighbourhoods where the activity takes place, and providing citizens with a new perception of urban art and its ability to activate social and cultural dynamics.
A project that will last for 8 months, which has united a total of six cities from different parts of Europe, where institutions and cultural agents have committed to promoting urban art, thus offering an open and diverse collaboration framework which has already given rise to sporadic collaborations outside the programme, among some of the cultural agents involved:
• Zaragoza (Spain): Sociedad Municipal Zaragoza Cultural
• Besançon (France): Association Juste Ici
• Toulouse (France): Mairie de Toulouse
• Colonia (Germany): Association artmx e.V / Cityleaks Festival
• Zagreb (Croatia): Association Centralna Jedinica
Know more HERE
The discovery of a law governing the growth of cities means that future urban populations can now be forecast in advance. When you live in a city, you can sense its pulse, experience its pace of life and get to know its unique character. It’s almost as if a city is a living, breathing entity in its own right.
That may be little more than the fantastical imaginings of city dwellers who tend to humanise all things inanimate. And yet, there is much demographic evidence to show that cities have their own unique identity, even though they are made up of millions of seemingly independent individuals.
One test of the idea that cities are coherent entities is the ability to predict their future characteristics based on their past behaviour. Text and Image via MIT Technology Review. Continue THERE
IN 1995 GEORGE GILDER, an American writer, declared that “cities are leftover baggage from the industrial era.” Electronic communications would become so easy and universal that people and businesses would have no need to be near one another. Humanity, Mr Gilder thought, was “headed for the death of cities”.
It hasn’t turned out that way. People are still flocking to cities, especially in developing countries. Cisco’s Mr Elfrink reckons that in the next decade 100 cities, mainly in Asia, will reach a population of more than 1m. In rich countries, to be sure, some cities are sad shadows of their old selves (Detroit, New Orleans), but plenty are thriving. In Silicon Valley and the newer tech hubs what Edward Glaeser, a Harvard economist, calls “the urban ability to create collaborative brilliance” is alive and well.
Excerpt from an article written at The Economist. Continue HERE
For decades, we have reached for the skies with bricks and mortar, steel and glass and have literally built places in the clouds. But the only way is not up: a few adventurers are airing out the dark corners and infusing contemporary culture and a new lease of life into forgotten underground spaces.
Every space erased from human memory, boarded and bricked up, and consigned to oblivion by us, hears the resounding echoes of Wim Wender’s words: “In a million years when no one will be around anymore to even remember us faintly, some of these places will. Places have memories. They remember everything. It’s engraved in stone…”
Yet a few souls remember the abandoned, the forgotten, and the buried residuals that contemporary architecture inevitably creates. These visionaries see the potential and beauty – and gradually, such spaces are infused with a new lease of life.
Excerpt of an text written by Gabriel Tamez, mb! by Mercedes-Benz. Continue HERE
“Every room is a new battle. […] Avoid cities if you can. If you can’t, avoid enemy areas. If you can’t do that, avoid entering buildings.”— Israeli officer quoted in US Army urban warfare manual, as reported by Vernon Loeb
Avoid cities if you can. I can’t find the original source for this quote, but it has made its way into both Disarming Iraq and The Resilient City, where I first read it. It certainly is an evocative sound-bite, so I really hope someone actually said it. As P.D. Smith explains in his ‘guidebook for the urban age,’ cities were always designed as war machines. The original meaning of polis was ‘citadel,’ and the very form of early cities was carved out by “the defensive wall,” their “most prominent and visible feature.” He continues,
“Elaborate fortifications turned early cities into military machines – soaring watchtowers, gates protected by symbolic lions and bulls, battlements, walls wide enough for three chariots, ramparts, moats and ditches.”
While modern urban warfare has moved on from the simple symmetries of fighting off the enemy at the gates, today’s city is no less a war machine. Indeed, war has now seeped inwards, splintering the citadel a thousand ways.
Excerpt from a text by Jad Baaklini via The State. Continue HERE
The Grand Domestic Revolution (GDR) is an ongoing ‘living research’ project initiated by Casco – Office for Art, Design and Theory, Utrecht as a multi-faceted exploration of the domestic sphere to imagine new forms of living and working in common.
Inspired by US late nineteenth-century ‘material feminist’ movements that experimented with communal solutions to isolated domestic life and work, GDR involved artists, designers, domestic workers, architects, gardeners, activists and others to collaboratively experiment with and re-articulate the domestic sphere challenging traditional and contemporary divisions of private and public. Now GDR goes on, evolving in different scales and extensions, taken up and transformed in different cities, sites and neighborhoods by those who desire to carry on the GDR from their own home base or by those already engaged with it in their local languages and practices.
Text and Images via The Show Room