Take a walk down Valencia Street today and you’ll find yourself waiting in line at a Disneyland of pop-culture opulence. Oblivious of the stark irony, graphic designers and marketing managers frequent $50/seat old-time barbershops and shop at retail boutiques obsessed with the rugged appeal of working-class fashion. Simultaneously, the actual businesses and experiences the proprietors are emulating are unable to compete in the increased rental market. What we’re left with are stage props and costumes in an increasingly detached culture of disingenuous, blue-collar nostalgia.
Charles Hurbert
humanscalecities

Newsweek Magazine:

Beijing is two cities. One is of power and of money. People don’t care who their neighbors are; they don’t trust you. The other city is one of desperation. I see people on public buses, and I see their eyes, and I see they hold no hope. They can’t even imagine that they’ll be able to buy a house. They come from very poor villages where they’ve never seen electricity or toilet paper.

Every year millions come to Beijing to build its bridges, roads, and houses. Each year they build a Beijing equal to the size of the city in 1949. They are Beijing’s slaves. They squat in illegal structures, which Beijing destroys as it keeps expanding. Who owns houses? Those who belong to the government, the coal bosses, the heads of big enterprises. They come to Beijing to give gifts—and the restaurants and karaoke parlors and saunas are very rich as a result.

Beijing tells foreigners that they can understand the city, that we have the same sort of buildings: the Bird’s Nest, the CCTV tower. Officials who wear a suit and tie like you say we are the same and we can do business. But they deny us basic rights. You will see migrants’ schools closed. You will see hospitals where they give patients stitches—and when they find the patients don’t have any money, they pull the stitches out. It’s a city of violence.

The worst thing about Beijing is that you can never trust the judicial system. Without trust, you cannot identify anything; it’s like a sandstorm. You don’t see yourself as part of the city—there are no places that you relate to, that you love to go. No corner, no area touched by a certain kind of light. You have no memory of any material, texture, shape. Everything is constantly changing, according to somebody else’s will, somebody else’s power.

To properly design Beijing, you’d have to let the city have space for different interests, so that people can coexist, so that there is a full body to society. A city is a place that can offer maximum freedom. Otherwise it’s incomplete.

I feel sorry to say I have no favorite place in Beijing. I have no intention of going anywhere in the city. The places are so simple. You don’t want to look at a person walking past because you know exactly what’s on his mind. No curiosity. And no one will even argue with you.

None of my art represents Beijing. The Bird’s Nest—I never think about it. After the Olympics, the common folks don’t talk about it because the Olympics did not bring joy to the people.

There are positives to Beijing. People still give birth to babies. There are a few nice parks. Last week I walked in one, and a few people came up to me and gave me a thumbs up or patted me on the shoulder. Why do they have to do that in such a secretive way? No one is willing to speak out. What are they waiting for? They always tell me, “Weiwei, leave the nation, please.” Or “Live longer and watch them die.” Either leave, or be patient and watch how they die. I really don’t know what I’m going to do.

My ordeal made me understand that on this fabric, there are many hidden spots where they put people without identity. With no name, just a number. They don’t care where you go, what crime you committed. They see you or they don’t see you, it doesn’t make the slightest difference. There are thousands of spots like that. Only your family is crying out that you’re missing. But you can’t get answers from the street communities or officials, or even at the highest levels, the court or the police or the head of the nation. My wife has been writing these kinds of petitions every day, making phone calls to the police station every day. Where is my husband? Just tell me where my husband is. There is no paper, no information.

The strongest character of those spaces is that they’re completely cut off from your memory or anything you’re familiar with. You’re in total isolation. And you don’t know how long you’re going to be there, but you truly believe they can do anything to you. There’s no way to even question it. You’re not protected by anything. Why am I here? Your mind is very uncertain of time. You become like mad. It’s very hard for anyone. Even for people who have strong beliefs.

This city is not about other people or buildings or streets but about your mental structure. If we remember what Kafka writes about his Castle, we get a sense of it. Cities really are mental conditions. Beijing is a nightmare. A constant nightmare.

global-culture
global-culture:

laphamsquarterly:

The subway systems of London, Madrid, Tokyo, New York, Moscow, the the rest of the world’s cities presented on the same scale. (via Neil Freeman)

Note emphasis on “same scale”.   I’ve always wondered what cities would look like when compared side to side.   I guess this is just like comparing their skeletons.

global-culture:

laphamsquarterly:

The subway systems of London, Madrid, Tokyo, New York, Moscow, the the rest of the world’s cities presented on the same scale. (via Neil Freeman)

Note emphasis on “same scale”.   I’ve always wondered what cities would look like when compared side to side.   I guess this is just like comparing their skeletons.