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ZATO/Closed City #44: Novouralsk

Katya Larina presented a fascinating lecture for my AA Landscape Urbanism students, earlier this week, on the phenomena of the ZATO (zakrytye administrativno-territorial’nye obrazovaniya - closed administrative-territorial units) or ‘Closed Cities’ of the Soviet Union. A graduate of the Architectural Association’s Landscape Urbanism programme, and founder of UrbanLab.Spb, Katya outlined the history of this peculiar urban formation that still holds a population of 1.5 million people in dozens of once secret cities, known only by coded reference numbers and unmarked on any official map. Since the research and production facilities of these now stagnating or declining cities are still seen as significant to the economy and development of the Russian Federation, the means of their revitalisation are being explored. In this context Katya’s practice was invited, alongside teams of economists and futurologists to explore methods and proposals for re-catalysing the social life of the closed city of Novouralsk. Central to this project was the question of closed and open systems, and the future place, if any, of the wall that circumscribes the ZATO – as a both a physical and governmental/legislative threshold – through which these systems are articulated.

I hope to be working with Katya on the publication of this material, and the design projects resulting from her workshops, in the near future. For now, however, here are some images of Novouralsk from her presentation. Also, see her website for future updates: http://katyalarina.typepad.com/

 

The High Line

Some photos I took of, and from, the High Line in Manhattan January 21, 2012.

Landscape and Critical Agency Symposium

I am co-organising, with Murray Fraser, Tim Waterman and Ed Wall, and speaking at, a one-day symposium on ‘Landscape and Critical Agency’ at UCL on 17th February. Details of registration (attendance is free) and the blog for the symposium below.

REGISTRATION:  Attendance is free but spaces must be reserved in

advance at  http://www.eventbrite.com/event/2325977060  (INCLUDES

LOCATION MAP)

DETAILS ONLINE: http://landscapeandagency.wordpress.com/

My contribution is titled ‘Landscape, Agency, and Artifice’. Here’s the abstract for it:

The potential for critical agency within the design and transformation of large-scale territories is compromised by the very models it tends currently to employ within its own discourse and practice. From Ian McHarg’s ‘Ecological Determinism’, through Stan Allen’s ‘Field Conditions’ to Andrea Branzi’s ‘Weak Urbanism’, design theory has been extensively concerned with identifying models of natural, complex or ecological process to which design must accommodate itself. Concepts of emergence and self-organisation, ‘flat’ ontologies (Manuel DeLanda), and actor-network theories (Bruno Latour), for example, figure prominently in design as models to be affirmed and imitated.

Whilst the employment of these models has, at least apparently, been driven by the desire to render design adequate to the complexity and urgency of the contemporary conditions it faces, the effect, at times deliberate, has been to obscure questions of power, control and capital, and, as well, the conscious agency and responsibility of the designer. Through the discursive and aesthetic gloss of self-organisation and emergence, for example, ‘nature’, is pressed into service to naturalise new modes of governmentality, control, and management that are based on the interactions of swarm-modelled subjects. DeLanda and Latour, furthermore, have both situated their theories in explicit opposition to the need for, or even the possibility of, critique.

Rather than affirmation, in this case of a nature or ‘reality’ posited as already given and ideal, critical agency demands reflective thought and its capacity for refusal. As Adorno wrote in his Negative Dialectics, ‘Thought as such, before all particular contents, is an act of negation, of resistance to that which is forced upon it…’ One of the immediate concerns of a critically agentic approach to landscape would, then, be the critique of the models of nature, ecology and ontology that currently circumscribe its potentials. This is the concern with which this paper is principally engaged.

In the process of its elaboration, this critique will be inflected through a reading, against the grain, of McHarg’s essay ‘Ecological Determinism’ (1966), and its arguments that ‘ecology become the basis for modern interventions’ within environmental transformations, and that figures such as Capability Brown represented the first move in such a direction. Where, for McHarg, the ‘artifice’ practiced by Brown, and other eighteenth century English landscape architects, is only the meansthrough which an ideal of nature and ecology is, ‘realized’, artifice will be reread here as the very essence of landscape through which its mediation of the social, the natural and the ‘real’ can be critically conceived and, within contemporary conditions, practiced.

Designing and Planning in the End Times

This looks to be a lecture worth attending – Jon always has something interesting to say on the relations between design, ecology, cybernetics, etc.

Jon Goodbun – Designing and Planning in the End Times

Thu 13th October 2011, 6:30pm
University of Westminster, NW1 5LS, Map
Series: Technical Studies
Organised by: University of Westminster (SABE)
Further information.

Launching this years Technical Studies ‘Open’ lecture series, writer, architectural/urban/design practitioner and academic Dr Jon Goodbun will discuss ‘Designing and Planning in the End Times’ and the role of the designer during economic and environmental tumult.

Dr Goodbun’s research interests range across the multifarious intersections of process philosophy, radical cybernetics, urban political ecology, the natural and cognitive sciences, and ‘architecture’.

This Urban Tektologist is based in the School of Architecture and the Built Environment at the University of Westminster – where he teaches design, theory and ‘research’. He is also a diploma tutor at the Royal College of Art, and a regular visiting tutor/critic at other schools, including the AA, Greenwich, UCA Canterbury, Brighton and the Bartlett. He is engaged in all kinds of small practice and research-based projects, and is a partner of architecture and design practice WAG.

Dr Goodbun writes for various journals, magazines and blogs. He has recently completed his PhD and is working on a book ‘Critical and Maverick Systems Thinkers’, based upon a series of interviews with key thinkers such as F. David Peat, Robert Pepperell, Stuart Hameroff, Tony Brown, and Paulo Soleri.

For Lecture details
Will McLean / Pete Silver
w.f.mclean@wmin.ac.uk

Ticket Information:
Free

Wheelchair access is available


The Alien Comes Home: Getting Past the Twin Planets of Possession and Austerity in Le Guin’s The Dispossessed

This is an essay I wrote a few years ago that was included as a chapter in the book The New Utopian Politics of Ursula K. Le Guin’s The Dispossesed, edited by Laurence Davis and Peter Stillman. Below is an excerpt. The entire document is here: Pages from Le Guin bk (as pub).1

The Alien Comes Home: Getting Past the Twin Planets of Possession and Austerity in Le Guin’s The Dispossessed

INTRODUCTION

The Dispossessed is an “ambiguous Utopia” with an ambiguous title. Its ambiguity hinges around possession as ownership and dispossession as deprivation, on the one hand, and possession as bewitchment and dispossession as liberation on the other. In terms of political philosophy, the novel’s title suggests an engagement with the Marxian themes and theories of commodity fetishism and alienation. In more contemporary terms it suggests a kinship with critical accounts of consumerism from Lefebvre and Debord in the 1960s to Klein’s No Logo and the anticonsumerist movement of today; a critique whose essence is captured in aphoristic form by Fight Club’s Tyler Durden: “The things you own, end up owning you.”

Le Guin’s novel articulates these themes by shuttling back and forth between the novel’s two worlds—the “possessed” Urras and the “dispossessed” Anarres—and weaving a network that both articulates and calls into question the apparent dualisms of possession and dispossession. From Urras the Anarresti appear as impoverished Utopians self-exiled on a barren world, while from the anarchist planet its nonidentical twin appears rich in material resources inequitably distributed and squandered on frivolous display. Critically, the novel’s protagonist,

Shevek, experiences these ambivalences and oppositions not so much through “raw” political philosophy or ideological discourse, but in his material and experiential encounters with objects, architectures, design, and aesthetics—the “glass and steel” buildings of Urras, the “erotic” furniture of the spaceship, the shop windows on the “street of nightmares,” Vea’s clothing, and Takver’s mobiles. This is more than a tangent to the novel’s politics, though; the concern with how objects and architectures are designed, manufactured, distributed, and experienced is a recurrent feature of radical and Utopian thought and social practice.

The English socialist and pioneer of “design reform,” William Morris, drew upon a romanticized interpretation of the medieval period, and the writings of Marx, to develop a critique of nineteenth-century industrialization and the design standards of its products. In response Morris not only produced his own work of Utopian fiction—News from Nowhere—but his own designs for furniture, buildings, wallpaper, and typography as a largely rhetorical counterdiscourse to the practice of the division of labor and the aesthetic aberrations of the Victorian era.

The conditions in the newly formed USSR generated a similar confluence of Utopian thought and radical design practice. In the midst of the political and economic crises of the 1920s, the Bolshevik leadership actively supported the establishment of new design schools operating along avant-garde lines, and within this fertile environment figures such as Moisei Ginzburg and Alexander Rodchenko produced architectures and objects intended not merely to represent the values of a communist Utopia, but to generate the conditions in which it could be actively realized.

Contemporary to the publication of The Dispossessed was the work of 1960s and 1970s radical design groups such as Utopie in France and Superstudio in Italy. These groups were politically informed by a revived reading of the early Marx and the theories of alienation and commodity-fetishism, ideas which had assumed increasing relevance in postwar “consumer society.” Seeking a historical path from this “consumer society,” and acknowledging the culpability of their own profession in its creation, these groups developed Utopian architectural and design projects in which alienation could be transcended through a reshaping of the material world.

This nexus of Utopian thought and critical design practice also encompasses another feature of Le Guin’s novel: the mobilization of science-fiction discourse as radical imagining of future possibility. In Soviet Constructivism, for example, rhetorically “modern” materials—steel, concrete, and plate glass—were employed to suggest transport to the new socialist Utopia of the future and departure from the old feudal and preindustrial world of Tsarist Russia. The geometries of circles, squares, triangles, and helixes into which these materials were formed also suggested a futuristic and cosmic dimension: in Of Two Squares the Constructivist El Lissitzky used prototypically modernist graphic design to narrate the arrival of the “pure” geometry of the square to earth from space and its transformation of the terrestrial world.

Radical design groups of the 1960s and 1970s also recruited the imagery and language of science fiction to their projects. The inflatable structures of the Utopie group suggested some escape from the pull of the Earth’s gravity and the weight of its “materialism,” while the English Archigram and Italian Superstudio groups appropriated science fiction comic imagery and photos of manned space flight in their graphics and manifesto-like publications to promote their futuristic and Utopian connotations. Meanwhile, in France, the Situationists “de-tourned” Barbarella-like comic strips so that its heroes and villains spouted revolutionary critique from their speech bubbles.

So The Dispossessed can be situated in the context of a social, political, and cultural “moment” in which the themes and concerns of alienation, consumerism, and science fiction converged in a critical fashion. In particular, Le Guin’s exploration of the role and place of aesthetics in Utopian discourse, and the possibilities this suggests for transcending the often ascetic and austere positions of these alternatives to consumerism, are worth considering.


LANDSCAPE AND CRITICAL AGENCY SYMPOSIUM ANNOUNCES ‘CALL FOR PAPERS’

Landscape and Critical Agency will be a 1-day interdisciplinary symposium to explore contemporary thinking about landscape. The symposium has been jointly conceived and organised by staff from four London-based universities and will be held at University College London on Friday, 17th February 2012. Seeking to explore the relevance of contemporary thinking about landscape to such issues, this symposium asks the question:

What agency does landscape possess, as a means of territorial organisation and creative production, to engage critically with the conditions that define the collective aspects of our environment?”

As far back as the 10th century the term ‘landscape’ referred to the ‘collective aspects of the environment’, as J.B. Jackson argues in Discovering the Vernacular Landscape (1984). But rather than the scenographic art it later became, landscape design was initially concerned with the production and organisation of agriculture, housing and infrastructure within its surrounding terrain. Today, whilst the ‘collective’ man-made terrain of the 21st century also encompasses the globalised movements of finance, media and digital technology, our most urgent questions still concern how physical landscapes are produced and organised.

In this context, a ‘call for papers’ has been announced for the symposium. It aims to encourage submissions that explore the possibility of landscape becoming a new form of critical agency – a radical departure from current understandings and engagement with landscape. Selected abstracts will be developed as full papers and published following the Landscape and Critical Agency symposium. Full details of the symposium and the ‘call for papers’ are available on the symposium website: http://landscapeandagency.wordpress.com/

‘Architectural Deleuzism’ published in Radical Philosophy 168, July/Aug 2011

Architectural Deleuzism

Neoliberal space, control and the ‘univer-city’

RP 168 (Jul/Aug 2011)

Douglas Spencer
(for full article see/purchase/subscribe to Radical Philosophy)

For many thinkers of the spatiality of contemporary capitalism, the production of all social space tends now to converge upon a single organizational paradigm designed to generate and service mobility, connectivity and flexibility. Networked, landscaped, borderless and reprogrammable, this is a space that functions, within the built environments of business, shopping, education or the ‘creative industries’, to mobilize the subject as a communicative and enterprising social actant. Integrating once discrete programmes within its continuous terrain, and promoting communication as a mechanism of valorization, control and feedback, this spatial model trains the subject for a life of opportunistic networking. Life, in this environment, is lived as a precarious and ongoing exercise in the acquisition of contacts, the exchange of information and the pursuit of projects. As a form of space, this is consistent with what Foucault described as the mode of neoliberal governmentality, operating through environmental controls and modulations, rather than the disciplinary maintenance of normative individual behaviour. It also, as many have noted, resembles the ‘control society’ forecast sometime ago by Gilles Deleuze, in his ‘Postscript on Societies of Control’, in which the movement of  ‘dividuals’ is tracked and monitored across the transversal ‘smooth space’ of a post-disciplinary society. Developed, in part at least, in response to the growth of post-Fordist knowledge economies, so-called immaterial labour, and the prevalence of networked communications media, this spatial paradigm has been theorized through models of complexity, self-organization and emergence. It has also been serviced, as I want to show in what follows, by a self-styled avant-garde in contemporary architecture claiming and legitimizing the emergence of this mode of spatiality as essentially progressive through its particular reading of the philosophy of Deleuze and Guattari.

What I will term here ‘Deleuzism’ in architecture – identifiable in the projects and discourse of practices such as Zaha Hadid Architects (ZHA), Foreign Office Architects (FOA), Reiser + Umemoto, and Greg Lynn, for example – has tended to read the philosophy of Deleuze and Guattari with a marked bias towards its Bergsonian and Spinozian (rather than Marxian) registers. Filtering from the philosophers’ corpus any trace of criticality, it has not, though, renounced the political in this process, but rather reframed it as a matter of organization and affect. Transcribing Deleuzean (or Deleuzoguattarian) concepts such as the ‘fold’, ‘smooth space’ and ‘faciality’ into a prescriptive repertoire of formal manoeuvres, Deleuzism in architecture has proposed, through its claims to mirror the affirmative materialism of becoming and ‘the new’ which it has found within Deleuze and Guattari’s oeuvre, that it shares with that oeuvre a ‘progressive’ and ‘emancipatory’ agenda.

In the main part of the article that follows, I want to explore this supposed agenda through the study of an exemplary recent project: FOA’s design for the new campus of Ravensbourne College (2010) located on the Greenwich Peninsula in London. This is an especially interesting project in this context, not only because of the ways in which it connects with current concerns regarding the neoliberal marketization of education (particularly in the UK), but because of the reputation acquired by FOA, and their central figure Alexander Zaera-Polo, of being at the leading edge of contemporary architectural Deleuzism. Like many other figures from this milieu, FOA initially extracted from the work of Deleuze and Guattari a number of key concepts appearing to lend themselves readily to translation into a set of formal and spatial tropes, but, significantly, they have more recently returned to the question of the political, once denounced by Zarea-Polo as ephemeral to the concerns of architecture,1 and positioned the building envelope as the organizational and representational medium through which the discipline can now acquire political agency. It is to this turn within architectural Deleuzism, along with its re-conception of the political and claims to have advanced beyond a supposedly outmoded and regressive politics of opposition and critique, that this aricle will attend. Before coming directly to FOA and to the Ravensbourne project, however, I need first to trace the emergence of Deleuze’s dominant position within recent ‘avant garde’ architectural theory more generally.

[...]

Notes

1. See Alejandro Zaera-Polo and Farshid Moussavi, ‘Phylogenesis: FOA’s Ark’, in Farshid Moussavi, Alejandro Zaera-Polo and Sanford Kwinter, Phylogenesis: FOA’s Ark, Actar, Barcelona, 2003, p. 10.

The Obdurate Form of Landscape Urbanism: Neoliberalism, Design, and Critical Agency

The following is an essay written for an Indian journal of Landscape Architecture and its special edition on Landscape Urbanism (forthcoming). It is a critique of the standard and lazy jargon in which landscape urbanism is described as novel, and the limits this places on the discipline’s capacity to critically reflect upon its own complicity with neoliberal imperatives. It offers some thoughts on how form, especially architectural form, as opposed to the fetishisation of process, may afford landscape urbanism the potential to operate as an agent for interests other than those of an absolute flexibility geared to the demands of the market.  Thanks to Ross Adams for his advice on Cerda’s thinking on urbanism and the issue of circulation. 

Introduction

The territories now placed at the leading edge of rapid and large-scale urbanisation, such as China and India, find themselves exposed to the full force of neoliberal mechanisms of creative destruction. Subjected to processes of continuous transformation and wholesale reconfiguration these territories experience a now familiar series of effects such as the mass displacement and mobilisation of populations, environmental degradation and increasing economic disparities. The competing and contested interests of speculation, investment, development, health, food security, and the ‘rights to the city’, collectively constitute the critical and precarious urban ecologies whose performance is played out on the ground of these regions.

Despite its claims to have invented a design model apposite to the new conditions of contemporary urbanism, landscape urbanism has largely failed to engage effectively with these conditions, or even adequately to theorise them. Rather than identifying the mechanisms of territorial transformation as interrelatedly historical, economic, political, social and environmental, landscape urbanism has tended to promote empty formal paradigms – smoothness, surface, interconnectivity, networks, fields, folds, flows, etc. – through which the putative novelty of its approach has been claimed.

This essay is a critique of landscape urbanism’s failure to identify and respond effectively to the conditions of contemporary territorial transformation, and offers a suggestion of how it might, after all, gain some purchase on these through its engagement with the grounds in which such conditions are materialised.

Smooth Operators

That the urban has only in recent years been transformed, from a form composed of static architectural objects, into a ‘field’ of processes, networks, mobility and infrastructural connectivity, is one of the founding myths of landscape urbanism. In his essay ‘Field Conditions’,[i] Stan Allen — a figure significant both to the development of landscape urbanism and to the ‘post-critical‘ discourse in architecture — locates the emergence of what he identifies as a generalised shift from ‘object to field’ amidst science, technology and culture in the postwar period of the twentieth century. Citing as examples of this shift scientific theories of complexity, the turn from analog to digital technologies and post-minimalist sculpture, Allen defines this ‘field condition’ as one of ‘loosely bound aggregates characterized by porosity and local interconnectivity…bottom-up phenomena, defined not by overarching geometrical schemas but by intricate local connections.’[ii] The use of these concepts in design, which Allen then recommends, places it, he argues, ‘in contact with the real’.[iii]

Alex Wall, in an essay equally significant to the theoretical development of landscape urbanism, ‘Programming the Urban Surface’, writes that with contemporary urbanisation, ‘infrastructures and flows of material have become more significant than static political and spatial boundaries…The emphasis shifts here from forms of urban space to processes of urbanization’.[iv] Consequently, he continues, we are now experiencing ‘a fundamental paradigm shift from viewing cities in formal terms to looking at them in dynamic ways. Hence, familiar urban typologies of square, park, district, and so on are of less use or significance than are the infrastructures, network flows, ambiguous spaces, and other polymorphous conditions that constitute the contemporary metropolis.[v]

Rather than novel, concerns over networked connectivity, mobility and infrastructural relations over those of urban form are in fact constitutive of modern urbanism at its inception in the mid-nineteenth century. ‘For urbanization, form is nothing’ wrote Ildefons Cerdà, in his General Theory of Urbanization of 1869, ‘adequate and perfect satisfaction of human needs is everything.’[vi] The purpose of urbanisation, he asserted, was to ‘fulfill the aim of establishing relations and communications among the shelters.’[vii]  The movement and coordination of pedestrians and traffic flows was one of the chief concerns for Cerdà in his planning of the expansion of Barcelona as an urban circulatory system, and his then controversial refusal to accommodate within his grid such conventional city forms such as large public plazas — which he viewed as outdated relics of older, pre-democratic, modes of city governance — already transcended the ‘familiar urban typologies of square, park, district’ which Allen argues need now to be left behind.

The tendency to misrepresent contemporary processes of urbanisation as entirely novel and uniquely concerned with connectivity, mobility and process follows from landscape urbanism’s general failure adequately to engage with questions of urban political economy, governance and the historical resonance of these matters. The privileging of circulation over form, as epitomised in the work of Cerdà, emerged in response to historically specific economic and governmental imperatives, which demanded the rapid and large-scale transformation of territories from the largely self-contained cities of the older monarchical, and autocratic regimes to the networked urban systems of bourgeois capitalism. What we are witnessing now is the re-emergence of imperatives towards circulation, mobility and connectivity, under determinate historical circumstances through which they are intensified in scope and extent, rather than their first appearance as a ‘new condition’ or ‘paradigm shift’.

Neoliberal Urban Entrepreneurialism

Following a period of relative stability around the mid-twentieth century, when the purely economic valorisation of the city was held in check by Keynesian and social democratic modes of governance, neoliberal imperatives have sought to transform the urban into a pure space of capital accumulation and corporate managerialism. As urban theorists Neil Brenner and Nik Theodore have argued:

In a geoeconomic context defined by massive upheavals of entrenched scalar relations, local (and regional) spaces are now being viewed as key institutional arenas for a wide range of policy experiments and political strategies. These include new entrepreneurial approaches to local economic development as well as diverse programs of institutional restructuring intended to enhance labor market flexibility, territorial competitiveness, and place-specific locational assets.[viii]

The mechanisms of neoliberal urban entrepreneurialism demand the erasure not only of the built environment produced to sustain earlier modes of production, but too the older regulatory mechanisms of the management of the city invested in civic authorities. Through such processes of creative destruction urban space can be made fully accessible to speculative development with its ‘creation of privatized, customized, and networked urban infrastructures intended to (re)position cities within supranational capital flows’, and its projects of ‘place-making’, urban regeneration, mega-events, etc. through which urban space is rendered ‘competitive’ and ‘marketable’.[ix]

Whilst Western Europe and North America have experienced this marketised makeover of the city within the context of post-fordism and post-industrialism, its effects have been most acutely felt and dramatically experienced in the territories newly-exposed to the mechanisms of the market.  In China, for instance, following the programme of economic reform initiated there by Deng Xiaoping in 1978, state-communal territories have been transformed into town-village enterprises (TVE’s) and the country has embarked upon a project to produce 400 new cities in the space of a mere 20 years.  This programme of ‘reform’ and rapid and large-scale urbanisation, in which territories are continually made-over to accommodate intensive cycles through agricultural, industrial, business and touristic bases of production, has produced increasing disparities between rural and urban incomes, mass migration from rural to urban territories and the creation of vast labour reserves in the city. Over 70 million farmers have been cleared from the land and over 100 million citizens rendered permanent migrants. Huge environmental problems have also followed from these transformations, including soil exhaustion and pollution resulting in a loss of arable land and serious concerns over food security.

Unengaged directly with such concerns landscape urbanism has too often been content simply  to reproduce formulaic arguments for mobility, flexibility and connectivity as, in themselves, responses supposed to be adequate to the conditions of contemporary urbanisation.  Wall, for instance, wishes to emphasise ‘the extensive reworking of the surface of the earth as a smooth, continuous matrix that effectively binds the increasingly disparate elements of our environment together.’[x] ‘The function of design’ he continues, ‘is not only to make cities attractive but also to make them more adaptive, more fluid, more capable of accommodating changing demands and unforeseen circumstances.’ Yet the type of infinitely reprogrammable urban surface argued for by Wall, and the flexible interconnectivity of the ‘field conditions’ proposed by Allen, function in effect as the ideal means by which territories are made accessible to neoliberal imperatives, and their need to continually remake the circulatory and governmental order of the city so as to facilitate shifting modes of capital accumulation. The ‘real’ that the ‘field condition’ puts design in ‘contact’ with is the ‘real’ of capital. Where it fails to acknowledge the mechanisms of neoliberal urban entrepreneurialism, then, landscape urbanism only serves to affirm for these the unquestioned paradigm of absolute flexibility.

Groundworks

If landscape urbanism is to realise its potential to operate as an agent of intervention within the critical conditions of contemporary territorial transformation, it must move beyond the straightforward affirmation of the paradigms of mobility and flexibility which it shares with neoliberal urban entrepreneurialism.  It is to a critique of both the abstract principles of contemporary urbanisation and their concrete manifestation in specific locales that landscape urbanism must turn; a turn which is evident in the development of the Landscape Urbanism Master’s programme at the Architectural Association, London, (AALU), and in the landscape urbanist practice, ‘Groundlab’ with which it is associated.

Rather than straightforwardly affirming processes of urban transformation and servicing the neoliberal imperatives that drive them, as a form of urban managerialism, AALU director Eva Castro has sought out the opportunities and means to critically intervene within them through design as a practice of critical agency. In her essay, ‘Thickening the Ground’, she writes:

The design industry is very permeable to external influences and, of all these, it is probably neoliberalism that has had the strongest effect on urbanism. Possibly as an outcome of the public funds exhaustion, the government’s incapacity to diligently respond to the growing cities and an ever-increasing urban population, the identity of the city has gradually fallen solely subject to the interests of private developers. We believe that it is under this constellation that a ‘new’ urban discourse advocating extreme connectivity, flexibility and adaptability, and capable of catering to the indeterminacy of programmes was born. In other words, this is a discourse that happily complies with the overall uncertainties of the free market.[xi]

Informed with this critique, and addressing itself to the concrete specificities of particular territories, Castro argues that it is through form that landscape urbanism attains its agency as a design practice and is able to commit itself toward specific urban scenarios:

…We don’t renounce form as a means to structure our environment. Form becomes the vehicle through which we challenge and face the different possible urban scenarios. The objective, on the one hand, is to avoid the pitfalls of a traditional masterplan as deterministic, controlled and inflexible, and on the other the looseness of an open framework catering to an infinite number of scenarios, able to host any brief or given future…In short, Groundlab advocates for highly articulated environments that commit themselves to specific scenarios, briefs and contexts [these] arise from a dialogue between the territory’s requirements (infrastructure) and our capacity to respond to current trends not purely as service providers, but as cultural producers.[xii]

In practice, it is the ground, and the working of the ground, from which form is derived. The ground becomes, as Castro refers to it, a ‘design tool’. Many of the sites with which AALU and Groundlab have been engaged, for example, particularly those in China, suffer from soil pollution and degradation requiring processes such as excavation, cutting, filling and capping in order to remediate these.  More than a problem-solving exercise, however, this type of ‘groundwork’ also provides an opportunity to generate artificial topographies with the formal capacity to structure relations between environmental, social, cultural and economic factors on a given site. Whilst the techniques employed for this type of groundwork may be borrowed from those used in conventional techniques of landscaping, however, it is through their architectural elaboration that these forms achieve the greatest potential to articulate determinate — though not deterministic — urban relationships. As Castro argues:

In order to use the ground as a design tool, we see it coming from the landscape practices as a concept but becoming architectonic in its development. Here is where architecture, as a model for urbanisation, becomes deeply relevant. Architecture, like no other medium, is able to structure the city, its functional, cultural, social and even political implications, into a coherent assemblage.[xiii]

The fashion in which the relations between the ground plane, architecture, and also infrastructural elements are configured — as an articulation between form and programme — holds the capacity to organise the relationships that the designer, as an active and critical agent, seeks to retain, reinforce, or reconfigure within the urban terrain. Thus, for example, certain projects by Groundlab and the students of AALU have sought through these means to render infrastructural elements instruments of socially inclusivity, to configure networks through which the practice of urban agriculture and its products can be integrated within local economies, and to challenge the spatial (re)production of social exclusion.

Not only do these practices challenge the orthodoxy of the urban as ‘smooth space’ of circulation and accumulation for neoliberal urban imperatives, but they may also offer significant resistance to its project of continuous reprogramming and creative destruction. As more than a mere ‘surface’, the urban may acquire, through the deployment of topographic groundwork and architectural form, together with the determinate relations it might establish through these, a certain obdurate resistance to being ‘made over’, again and again, by capital.

Douglas Spencer

April 2011


[i] Stan Allen, ‘Field Conditions’ in Points + Lines, (New York: Princeton Architectural Press, 1999).

[ii] Ibid., 92.

[iii] Ibid., 92.

[iv] Alex Wall, ‘Programming the Urban Surface’ in James Corner, editor, Recovering Landscape: Essays in Contemporary Landscape Architecture, (New York: Princeton Architectural Press, 1999),

[v] Ibid., 234.

[vi] Ildefonso Cerdà, The Five Bases of the General Theory of Urbanization, ed. Arturo Soria y

Puig, trans. Bernard Miller and Mary Fons i Fleming (Madrid: Electa España, 1999), 50.

[vii] Ibid., 44.

[viii] Neil Brenner and Nik Theodore, ‘Preface: From the “New Localism” to the Spaces of Neoliberalism’ in Brenner and Theodore, editors, Spaces of Neoliberalism: Urban Restructuring in North America and Western Europe, (Oxford: Wiley-Blackwell, 2002), v.

[ix] Neil Brenner and Nik Theodore ‘Cities and the Geographies of “Actually Existing Neoliberalism”, in Brenner and Theodore, Ibid., 23.

[x] Wall, ‘Programming the Urban Surface’, 246.

[xi] Eva Castro, ‘Thickening the Ground’, in Michael Hensel, editor, Design Innovation for the Built Environment – Research by Design and the Renovation of Practices, (London and New York: Routledge, forthcoming 2011).

[xii] Ibid.

[xiii] Ibid.

Iain Boal and Lyla Mehta on Scarcity at SCIBE

1 June 2011: Iain Boal and Lyla Mehta on Concepts of Scarcity

Scarcity and Consumption is part of Scarcity Exchangesa series of exchanges on and around the topic of scarcity, bringing together some of the leading thinkers in the field to expound on one of the most pressing, but often avoided, issues of the day.

Iain Boal is a social historian and co-founder of the Retortcollective, an association of radical writers, artisans, and artists in the San Francisco Bay Area. He has taught at Harvard, Stanford, and the University of California, Berkeley and Santa Cruz. He is presently Research Fellow of the Birkbeck Institute for the Humanities, University of London. In his remarks, “Scarcity and the necessities of life”, Boal will review the Reverend Malthus’ definition of economics as “decision under scarcity”, and asks whether another economics, indeed another world, is possible.

Lyla Mehta is a Research Fellow at the Institute of Development Studies at the University of Sussex and an Adjunct Professor at Noragric, Norwegian University of Life Sciences. She is a sociologist and her work focuses on the politics of scarcity, water and sanitation, gender, forced displacement and resistance, rights and access to resources and the politics of environment/ development and sustainability. Several of her publications have been concerned with scarcity including the recently edited work‘The Limits to Scarcity: Contesting the Politics of Allocation’. Her talk is entitled ‘Taking the scare out of scarcity: Why ‘perfect storm’ narratives serve to keep the poor poor’.

Wednesday, 1 June 2011, 6.30 pm, University of Westminster, Marylebone Campus, London

This event is free but registration is required.

‘Schooled in Precarity’ at Roscoe Occupation Manchester

I had the privilege yesterday of speaking to some of the occupiers of the Roscoe building  in Manchester about my own research and thinking on architecture, space and power, and discussing with them their own experiences of these issues within the occupation.  I delivered a lecture outlining Foucault’s take on neoliberalism as a form of governmentality, the idea of precarity as a mode of production of subjectivity, the now dominant model of education as a ‘learning landscape’ and the role of architects in facilitating a space for this. What seemed to strike a chord with some was Boltanksi and Chiapello’s account of the New Spirit of Capitalism, where the ideas of May 68 – informality, spontaneity, grassroots connectivity etc  - have come back to haunt us as the paradigms of management theory as a means of control and valorisation for the very forces they were intended to undermine. As one of the occupiers said, ‘May 68′ is everything to us. Another conveyed that it was all too easy to simply reproduce the organisational ideals of May 68 without recognising some of the problems and paradoxes of this in the current situation. My discussion of the ‘learning landscape’ (see earlier post on Ravensbourne and FOA for details) also brought an interesting response in that everyone recognised this as the model which many of the new university buildings in Manchester were evidently now following.

Following the lecture we took the discussion to another building – the ‘Tin Can’ – in whose circular space we sat, under the watchful eye of the cctv camera placed panoptican-style at its centre. We talked both about the occupation in general, and their experiences with dealing with the space of the occupation and the types of power relations they were trying to challenge. What struck me as particularly significant was that they were trying to break down two sets of barriers. One between themselves and the other students not actively engaged in the occupation, and one between the space of education and the public. At Roscoe they are trying to rethink the possibilities of education, and to connect with the opposition against cuts in public spending. They find though that students are in general less enthusiastic about the creative aspects of the occupation, about the exploration of possibilities and the opening up to other issues, than they were around the single issue of opposing tuition fees. But at least there is a possibility of engaging with the wider student community in the way in which the occupation is organised. The occupation is, in fact, less of an occupation than a ‘co-habitation’, as they describe it. The regular programmes of the university run alongside the activities of the occupation. I’m not quite sure how they manage it, but it would seem to maintain a relationship which avoids the divisive nature of an occupation acting as a bounded space in which you are either ‘in’ and ‘for’ the occupation or ‘outside’ of and ‘against’ it. In terms of reaching out to non-students, they take the publicity for their events out on to the streets of Manchester and broadcast them through a mic and boombox. Of course people aren’t rushing into Roscoe en masse, but again it’s a positive move that explores the possibility of opening up education in a way which is entirely different, and differently motivated, from that of the construction of Ravensbourne as a semi-public space which only presents the spectacle of education to those outside of its institution. It was also apparent, from the mix of people I was talking with, that these were not all students, so perhaps they are making some headway in their goals. I took a lot from my discussions with these guys. I hope I gave something back, and that we can continue our dialogue. Roscoe, you are an inspiration.

 

 

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