The City & The City, September 6 2015.
As featured on Channel 4.
The City - Patrick Wolf
cherry valley forever
The Bowery Presents
$LAYYYTER

JVL
Jules of Nature

bliss lane
noise dept.
KIROKAZE
occasionally subtle
Cosimo Galluzzi

Origami Around

#extradirty

pixel skylines
Monterey Bay Aquarium
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No title available

Love Begins
Xuebing Du

gracie abrams
Cosmic Funnies

seen from Netherlands
seen from Italy
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seen from Türkiye
seen from United States
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seen from Germany

seen from Malaysia

seen from Malaysia

seen from Malaysia

seen from Australia
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@urbanusinurbis
The City & The City, September 6 2015.
As featured on Channel 4.
The City - Patrick Wolf
Be-bop en cave, Vieux colombier, a photo by Robert Doisneau, Paris, 1951
“When you’re a kid and you’re trying to find your own voice, it’s rather daunting to hear somebody like Howlin’ Wolf, because you know that you’ll never achieve that.” = Tom Waits
“Defensive architecture” aimed at the homeless as a deliberate, considered kind of cruelty.
By Lisa Wade, PhD
I encourage everyone to go read this very smart and very sad essay from Alex Andreuo at The Guardian. It’s a condemnation of defensive architecture, a euphemism for strategies that make the urban landscape inhospitable to the homeless.
They include benches with dividers that make it impossible to lie down, spikes and protrusions on window ledges and in front of store windows, forests of pointed cement structures under bridges and freeways, emissions of high pitched sounds, and sprinklers that intermittently go off on sidewalks to prevent camping overnight. There is also perpetually sticky anti-climb paint and corner urination guards, plus “viewing gardens” that take up space that might be attractive to homeless people:
The examples above and below are from a collection at Dismal Garden. Here’s a picture of anti-encampment spikes featured at The Guardian:
This is to discourage urination:
This is to take up space so people can’t camp on the sidewalk:
Andreuo writes of the psychological effect of these structures. They tell homeless people quite clearly that they are not wanted and that others not only don’t care, but are actively antagonistic to their comfort and well being. He says:
Defensive architecture is revealing on a number of levels, because it is not the product of accident or thoughtlessness, but a thought process. It is a sort of unkindness that is considered, designed, approved, funded and made real with the explicit motive to exclude and harass. It reveals how corporate hygiene has overridden human considerations…
If the corporations have turned to aggressive tactics, governments seem to simply be in denial. They offer few resources to homeless people and the ones they do offer are insufficient to serve everyone. Andreuo continues:
We curse the destitute for urinating in public spaces with no thought about how far the nearest free public toilet might be. We blame them for their poor hygiene without questioning the lack of public facilities for washing… Free shelters, unless one belongs to a particularly vulnerable group, are actually extremely rare.
He then connects the dots. “Fundamental misunderstanding of destitution,” he argues, “is designed to exonerate the rest from responsibility and insulate them from perceiving risk.” If homeless people are just failing to do right by themselves or take the help available to them, then only they are to blame for their situation. And, if only they are to blame, we don’t have to worry that, given just the right turn of events, it could happen to us.
Lisa Wade is a professor of sociology at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. You can follow her on Twitter and Facebook.
Lucky old Chesterfield getting this through the centre of town.
Botijo 2138 - Jean y su botijo
(Imagen original: Jean Patchett, 1949)
matthbooth
Gloria Swanson posing in the ruins of the Roxy Theatre, the photograph that inspired Follies
Marlon Brando with his sister Jocelyn, 1948. (Lisa Larsen—The LIFE Images Collection/Getty Images) #LIFElegends
“To take photographs means to recognize - simultaneously and within a fraction of a second - both the fact itself and the rigorous organization of visually perceived forms that give a meaning. It is putting one’s head, one’s eye and one’s heart on the same axis.”
Henri Cartier-Bresson
netherthorpe flats, sheffield 1961
Dovima wearing dress by Greta Plattry 1954
ella fitzgerald - louis amstrong
Irving Penn, Three Women of Rissani, Morocco, 1971