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Thoughts on urban planning, city design, architecture, the built environment, social issues, Seoul, Korea, and soon... London
5.9.04
Toward utopia or not toward utopia?
Two issues continue to trouble me: How can the outcomes of social analysis and critique of the city become translated into design? Should the urban planner/architect design for society's existing and expected needs, or for some sort of utopia (and if so whose -- the designer's)?
These two questions are linked, perhaps especially in the given historical situation of the present. Social analysis points out a problem (or, usually, problems) and occasionally alternatives or ideals. Let's look at the increasing privatization or growing control of public space in Europe (and elsewhere) in the 90s and the responses by social movements (many outlined in INURA's Possible Urban Realms). Out of the lessening role of the municipal authorities in managing public services, and a rise in the corporatization of the city, many spaces that were formally public were sold off to companies to run, making them semi-public spaces. In addition, the increase employment of surveillance and tightening of limitations on the times both public and semi-public spaces, made these spaces more and more alienating and simply difficult to be in.
So how does the architect/planner account or counter this in design? Especially when most are employed by the municipal authorities and/or big business developers?

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These two questions are linked, perhaps especially in the given historical situation of the present. Social analysis points out a problem (or, usually, problems) and occasionally alternatives or ideals. Let's look at the increasing privatization or growing control of public space in Europe (and elsewhere) in the 90s and the responses by social movements (many outlined in INURA's Possible Urban Realms). Out of the lessening role of the municipal authorities in managing public services, and a rise in the corporatization of the city, many spaces that were formally public were sold off to companies to run, making them semi-public spaces. In addition, the increase employment of surveillance and tightening of limitations on the times both public and semi-public spaces, made these spaces more and more alienating and simply difficult to be in.
So how does the architect/planner account or counter this in design? Especially when most are employed by the municipal authorities and/or big business developers?
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People of all ages are able to do this. Your own history is special because of your circumstances: your cultural, racial, religious or ethnic background. Your story is also part of human history, a part of the story of the dignity and worth of all human beings. By putting opinions and thoughts into words, you, too, can give voice to your inner self and strivings.
A long entry by Anne Frank on April 5, 1944, written after more than a year and a half of hiding from the Nazis, describes the range of emotions 14-year-old Anne is experiencing:
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For those of you interested in reading some of Anne Frank's first stories and essays, including a version of Cady's Life, see Tales From the Secret Annex (Doubleday, 1996). Next: Reviewing and revising your writing
I have read through one history
Each of you has your personal story; it is your history. Keeping a diary or writing your feelings in a special notebook is a wonderful way to learn how to think and write about who you are -- to develop your own identity and voice.
People of all ages are able to do this. Your own history is special because of your circumstances: your cultural, racial, religious or ethnic background. Your story is also part of human history, a part of the story of the dignity and worth of all human beings. By putting opinions and thoughts into words, you, too, can give voice to your inner self and strivings.
A long entry by Anne Frank on April 5, 1944, written after more than a year and a half of hiding from the Nazis, describes the range of emotions 14-year-old Anne is experiencing:
". . . but the moment I was alone I knew I was going to cry my eyes out. I slid to the floor in my nightgown and began by saying my prayers, very fervently. Then I drew my knees to my chest, lay my head on my arms and cried, all huddled up on the bare floor. A loud sob brought me back down to earth, and I choked back my tears, since I didn't want anyone next door to hear me . . .
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"I haven't worked on Cady's Life for ages. In my mind I've worked out exactly what happens next, but the story doesn't seem to be coming along very well. I might never finish it, and it'll wind up in the wastepaper basket or the stove. That's a horrible thought, but then I say to myself, "At the age of 14 and with so little experience, you can't write about philosophy.' So onward and upward, with renewed spirits. It'll all work out, because I'm determined to write! Yours, Anne M. Frank
For those of you interested in reading some of Anne Frank's first stories and essays, including a version of Cady's Life, see Tales From the Secret Annex (Doubleday, 1996). Next: Reviewing and revising your writing
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Here's a first REAL comment on your article. I think a planners role is to try and stay as relatively independent as possible when designing an urban environment. Although I agree that they will very often be influenced by outside pressures (notably in the example you gave of privatization), I think the role of an urban planner is to try and design environments for the well being of ALL users of said setting. I think even when completely public, the political influence placed on a planner can be excessive. I noticed you have "the Death and Life of American Cities" by your bedside. As is seen in that book, often the most well-intended political decisions (MORE PARKS!!! for example) can be disastrous.
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