This article was originally published on Common Edge.
As this bloody year draws to a close, at a moment when the message “Peace on Earth” seems altogether mute, one might well ask: What power does architecture have? How can it address violence against innocent people, whose lives have been turned upside down? How does architecture respond to staggering cruelty? What can it say? Can it raise consciousness?
Cities are the bedrock of civilization. For millennia, they have attracted people with the promise of superior standards of living — from better economic and educational opportunities to easier access to quality public infrastructure such as housing, healthcare, and public transport. Today, however, many cities around the world are finding it challenging to live up to this promise. With urban migration accelerating at a dizzying rate – the United Nations projects that over two-thirds of the world's population will live in cities or urban centers by 2050 – existing resources and services in cities are coming under increasing pressure, rendering them dysfunctional and leading to glaring inequities.
There is no singular way to define or assess liveability; every city has a unique set of characteristics, from its history, culture, geography, and demographics, to how it is governed and what urban issues plague it. Therefore, improving liveability requires concerted efforts from multiple stakeholders including people, governments, and experts, to identify critical problem areas and opportunities, and devise contextual solutions. The TV show Tale of Two Cities, where Indian architect and urbanist Dikshu C. Kukreja sits down with global leaders, brings out great insights into what some major cities in the world are doing to create more liveable environments for their inhabitants. Here we present five examples: from Bogotá, Kolkata, Hannover, Tirana, and Washington, D.C.
This article was originally published on Common Edge.
There are extraordinary connections between the natural world and the capacity for creativity in human beings. In his book Last Child in the Woods, journalist and author Richard Louv observes: “Nature inspires creativity in a child by demanding visualization and the full use of the senses. Given a chance, a child will bring the confusion of the world to the woods, wash it in a creek, turn it over to see what lives on the unseen side of that confusion.” He concludes that in nature, “a child finds freedom, fantasy, and privacy: a place distant from the adult world, a separate peace.” The architect Frank Harmon likewise wrote touchingly about the outdoors, woods, and water as perfect settings for cultivating a thirst for learning and discovery: “Children raised by creeks are never bored. Creek children don’t know about learning by rote, neither are they conditioned to working nine to five. Berries are their first discoveries, and birds’ nests, and watching the stars come out. Later they discover books. To creek children, learning is discovery, not instruction.”
For the 17th Venice Architecture Biennale, the Dominican Republic presents the exhibition CONEXIÓN by artist and architect LiLeón (Lidia León Cabral) and art critic Roberta Semeraro. Hosted at Venice's Anglican Church, the project lies at the intersection of art and interior architecture, and is inspired by "the bond between the Dominican Republic and Mother Earth".
If you are in a place impacted by the COVID-19 pandemic, spending 20 minutes experiencing nature in a park, street, or even your backyard can significantly reduce your stress levels. Just be sure to follow federal, state, and local guidelines and maintain social distancing of 6 feet or 2 meters. But even if you cannot or are unable to go outside, taking a break by opening a window and looking at a tree or plant can also help de-stress.
Moving away from its early exclusive focus on natural disasters, resilient architecture and design tackles the much tougher challenge of helping ecosystems regenerate.
Thirty years ago, as a high school student at the Cranbrook boarding school in suburban Detroit, I wrote a research-based investigative report on the environmental crisis for the student newspaper. I had been encouraged to do so by a faculty adviser, David Watson, who lived a double life as a radical environmentalist writing under the pseudonym George Bradford for the anarchist tabloid Fifth Estate. His diatribe How Deep Is Deep Ecology? questioned a recurring bit of cant from the radical environmental movement: Leaders of groups like Earth First! frequently disparaged the value of human life in favor of protecting nature.
