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Earlier this year, a fourth person tragically took their life by jumping over the edge of The Vessel, a monumental Escher-like structure that serves as the anchor of tourism to New York City’s Hudson Yards development. Many immediately called for the 16-story sculpture to be torn down, and others demanded further safety barriers to be put in place, even if it meant blocking some of the views and vantage points. For now, The Vessel is closed until officials decide what to do next. Unfortunately, it’s become an attraction loosely associated with death, especially as it sits silently while the hustle and bustle of Hudson Yards remains.

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We are twenty-one years into the twenty-first century. The world has never been more connected with the advent of new technologies, yet historical inequalities still run rampant. These inequalities manifest themselves in different ways. Global travel, for example – despite the ubiquity of aeroplanes nowadays – is still only widely accessible to citizens of “developed” countries due to prohibitive visa restrictions. In architectural education, many institutions still prioritise a Eurocentric curriculum, the architecture of non-Western populations largely ignored. Another perpetuation of prejudiced systems is Orientalism – and exploring this concept through an architectural lens is useful for interrogating contemporary design approaches and approaches of the future.

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