via coolhunting.com
life or something like it
The interesting thing about the strategic design unit (SDU) is that it takes this approach to matters of public policy. In particular, it watches the massive social and economic changes that governments, including our own, are struggling to cope with. When the welfare system is straining because there’s less tax revenue to go round and an ageing population demanding greater care, how do you make it deliver? The answer lies partly in the minutiae of, say, how you deliver food to the elderly, but also at the macro scale. The SDU has found itself rethinking the social contract. Do you allow people to work less and contribute to society in other ways, such as part-time volunteering? It sounds something like David Cameron’s big society, but in the UK there was no detail about how that would work, just the unrealistic expectation that we would all do more.
- from guardian.co.uk
Studios, workshops, cinema space, bars and more. On Westerpark.
http://www.westergasfabriek.nl/
I don’t think it’s an exaggeration to say that David Simon has transformed the way many of us think about the interconnectedness of the social issues that plague our cities and communities in the C 21st. The Wire zoomed out, from the street corner to city hall, weaving an epic narrative on the political and economic pressures fracturing labor rights, hollowing-out education and crippling policing.
At the very least, he changed writing for television, and raised the bar for all comers.
So of course I was stupidly excited to hear that he’d be speaking at the BMW Guggenheim Lab on the LES. Simon took the mic and spoke honestly, angrily and informally, without notes, for two hours straight. I found myself agreeing with almost every point he raised. I stood on the edge of the crowd and took notes till my thumbs hurt.
Here’s all the quotes I managed to capture. They’re a bit random and disconnected, but you’ll get the general idea of the tone of his talk.
David Simon, NYC. August 31, 2011.
What I have found myself writing about is the end of empire: what happens when the affluent decide not to pay their share.
What we’re looking at now is the moral equivalent of a gated community…. I’ve got mine, so fuck him.
What we are looking at is the triumph of capital. I would date it to 1980: there has been a class war, and my class is winning.
Capitalism is the only way to build mass wealth: it is not a meaningful blueprint for a just society.
It’s a casino: if you mistake it for a mechanism that will build a just society, you do that at your peril. We’ve been doing that for 30 years.
The good news is that it’s going to get worse… It won’t be in NY, it’ll be in St Louis or another place like that… It’ll happen in places where the game is so rigged, where the crumbs that fall from the table are so small, that people will rise up.
The thing that made America great is organized labor… If you look at what labor gave us, it didn’t just give us a living wage. It created a consumer class, people who were willing to buy shit, that is the engine that drives the American economy.
If you come to NY you feel like the center of the universe, everything happens first here… It’s the triumph of NY that the rest of the world doesn’t matter that much. The problem is that whatever cancer the rest of the country is experiences, you don’t feel it here.
People are being thrown away, people that we dont need, people being trained for the corner. When you just don’t need 15-20% of your population anymore, economically, all you can do is make them chow for the system. It makes economic sense to make money off human misery.
Our prisons are publicly traded companies. How do you get 6 or 8% profits when you’re running prisons? You have to make it a growth industry: you have to send more people to jail.
We have more people in jail in America by sheer number and percentage than China, than any other state in the world…. Criminal justice is the largest growing lobbying group. The core chow is people trying to move to a better life, and low-level drug offenders.
Capital has not only achieved this for itself, it has also purchased the government that you might want to use to do something about it.
Two things: opt out for drug wars, acquit low level offenders.
Question time: usually 50% of questions about Omar
Question on the response to Obama’s healthcare plan: this is about the upper middle class, the middle class, and even the working class saying: if someone is below me, fuck em. What do you think the concept of group healthcare is? It’s socialistic. What they’re saying is I want socialism for me, for people who look like me, who work where I work. When people who are affluent do this, that’s a society in decline.
I’m not looking for moustache twirlers: I just think money routes itself. I think the collapse of high end media isn’t a conspiracy, I think that it’s just good luck for capital.
I took my buyout (from The Baltimore Sun) before the Internet, with 100 other reporters, when the Sun was making a 37% profit. This wasn’t a technological issue: only one thing makes society and people that stupid: money. They could make more money putting out a shittier product. All we have left is Barnum, putting our hand in the next guy’s pocket. If they can make money now, they don’t care if the industry survives the next three months.
I think things can change: I think the first good sign is the Times charging for content.
Question on whether is is better to make these points through art, than journalism: I get more attention: I get to do nice things like talk to you about cities tonight because I made a television show… I wouldn’t have been invited here if I was the police reporter for the Balitmore Sun.
It doesn’t work because it’s more expensive than journalism: it costs HBO $30 or 40 million to make a
season of the Wire or Treme… That’s too much money and it takes too long.
Question about filmmaking: I dont know anything about making a film. I have a general studies degree from the University of Maryland.
I can’t tell a story in a medium where you have to stop every 12 minutes to sell people shit. You need to keep eyeballs…. And you can’t tell a story that is dark, much less something that is tragic, because no one wants to watch that shit and then go out and buy iPads and Lincoln Continentals… Premium cable has taken that dynamic and shattered it…. Now that it’s about DVDs and on demand, the ratings mean even less. That economic model makes possible storytelling that is plausible.
I tend not to hire TV writers: I think it’s easier to bring journalists and novelists through the keyhole into TV. If they make tv I don’t want them: I’m scared that it’ll end up too much like TV.
Next show: We can’t find anyone who is willing to do anything on organized labor. I’d love to do mini-series on key moments in organized labor, but no one is interested. It’s like talking about a museum piece for most people.
I see the American middle class as a person at a casino with the hand on a machine, not noticing everyone around them going bust. All they can see is the guy two rows over who is winning, and all the bells and whistles are going off… There is the secret notion among all these people who are getting creamed that one day I might be the guy on the machine that wins. It’s that level of perfect greed that our political demagoguery takes advantage of to get people to vote against their own interests.
What people forget when they bitch about welfare is that 99% of that money goes straight back into the economy. When rich people make money is goes into the bank.
Milk crates are a fantastic material for many reasons; they are structural, light, modular and they have an iconic role in Melbourne’s cafe image and laneways. We believe that familiarity to a material plays an important role in engaging with it.
PlayMo uses 3 different types of crates. Black = platforms, Grey = stairs, Green = movable. The green crates provide the undefined random element; people rearrange their seats or even build small stairs themselves. There hasn’t been a single day where we found them in the same place. We found artworks, plants, toys, pillows, new crates and received hundreds of letters. We even found that people had constructed a bin so that (they) could be kept clean.
via PSFK
Candy Chang is a public installation artist, designer, and urban planner who likes to make cities more comfortable for people. She’s also a 2011 TED Fellow and will be at the mythic conference this week to talk about I Wish This Was, her endearingly low-tech community engagement project.
Chang believes that public space can better serve the people who live, work, and play in them. Cities like New Orleans, where she lives, are filled with abandoned buildings, empty storefronts, vacant lots, and people who need things, but are devoid of the most basic necessities like grocery stores. So Chang came up with the project, ideal for its super low barrier of entry, to allow her fellow citizens to offer their ideas. The responses, which run the gamut from Disneyland to a bike rack, heaven to an art supply store, reflect, says Chang,”the hopes, dreams, and colorful imaginations of different neighborhoods.”
- from good.is
PPS: What were your initial biggest hurdles regarding government, property owners, etc? How did you overcome these challenges?
Westbury: Badly designed incentives. There are a myriad of incentives for property owners not to make available their empty properties – Newcastle had more than 150 empty buildings in the two main streets in large part because owners were better off to board them up and write off the losses than use them as going concerns. Essentially, Renew Newcastle exists as an intermediary designed to change how that process works – we use some clever but legal contracts and risk management processes to make that work a lot better. We manage risk and remove complexity which is essentially the key to it.
In many respects, on the surface, Renew Newcastle looks like an arts and cultural project – and it is – but from my end it is really a series of mechanisms for changing access to and governance of space. We have changed how space behaves for creative people and they in turn have brought their creativity and innovation to the problem of bringing the city back to life.
- from PROJECT FOR PUBLIC SPACES
A bridge that repurposes abandoned viaducts, produces energy AND looks futuristically sleek? Yes, it can be true, and it is Italy’s proposed Wind Turbine Viaduct called “Solar Wind.” Southern Italy is dotted with unused viaducts, and rather than spending $50 million to tear them down, town officials near Calabria held a competition called “Solar Park South,” open to designers and engineers asking them to come up with an environmentally conscious way to re-use the existing structures.
Solar Wind, conceived by the design team of Francesco Colarossi, Giovanna Saracino and Luisa Saracino, has an abundance of green benefits. Using the space between the viaduct, the team proposed installing 26 wind turbines, which would produce 36 million kilowatt hours of electricity per year!
Additionally, the roadway across the bridge would be densely lined with solar cells coated in clear plastic, producing another 11.2 million kilowatt hours. Much like New York’s Highline, but on a much more grandiose scale, the entire viaduct itself would be turned into a promenade and park. Drivers may pull off to take in gorgeous coastal views, solar powered greenhouses would be installed along the bridge, creating an ultra-fresh farmer’s market.
The entire structure is like a green Utopia, repurposing abandoned structures, producing a combined 40 million kilowatt hours of electricity (that is enough to power 15,000 homes), while creating a chance to take in the surrounding panoramic views, and buy the freshest of produce! Sounds much better than merely tearing down the old viaducts.
The Museum of Possibilities became a playful yet actionable poll of public opinion, turning the possibilities into probabilities as the people of Montréal told their city, directly and tangibly, what they’d like to do with the space — a sort of physical, life-sized version of Give a Minute.
- from brainpickings
Santa Clara County has the highest median household income of any county in California, and now its residents are spreading some of that wealth.
Beginning in April, any one enrolled in the county’s program to help homeless find permanent housing can also apply to get up to 1,850 free-ride transit stickers on the Valley Transit Authority’s light-rail and bus lines. The stickers will be good for three months, at which point the rider can re-apply for more, if necessary.
With an estimated 3,500 of the county’s 7,200 homeless people expected to take advantage of the offer, the local government expects to pay about $111,000 per year for the program. But Bob Dolci, who heads up Homeless Concerns in San Jose and will over see the free-rides project, says he wouldn’t have it any other way.
“This will enable them to get to medical appointments, job appointments or any thing related to help ing deal with their homelessness,” he says. “Absolutely, it’s a lifeline.”
- from GOOD
“Almost half [of business owners in cities with active 'buy local' campaigns] reported that the campaign had brought new customers to their business and 55% said it had made existing customers more loyal,” Stacy Mitchell of the New Rules Project reports. “More than two-thirds said local media coverage of independent businesses had increased and 51% said that local government officials were now more aware and supportive of the needs of independent businesses.”
- from ECOPOLITOLOGY
Designed by KGP Design Studio, the Bikestation is a secure, members-only facility that features parking for 200 bikes and some repair services, all staffed by local company Bike and Roll. Commuters can also rent lockers and change in a private changing room. An annual pass costs $96 plus a $20 administrative free. Bikestation also operates similar facilities in cities like Seattle and Long Beach, California.
- from GOOD
Conductor, an interactive digital art project inspired by the New York City subway system, sonically represents actual transit data. Artist Alexander Chen recreated, and then animated, the famous Massimo Vignelli NYC subway map. Each time a train leaves the station in the MTA dataset, so does a dot on Chen’s interactive map trailing a line with the same color as the train line. The music comes in when two train lines cross. Each intersection causes a twang, like a plucked string on viola—Chen’s chosen instrument. Listen to how the notes get deeper the longer the lines stretch.
- from GOOD
Ruin photography, in particular, has been criticized for its “pornographic” sensationalism, and my bookseller friend won’t sell much of it for that reason. And others roll their eyes at all the positive attention heaped on the young, mostly white “creatives,” which glosses over the city’s deep structural problems and the diversity of ideas to help fix them. So much ruin photography and ruin film aestheticizes poverty without inquiring of its origins, dramatizes spaces but never seeks out the people that inhabit and transform them, and romanticizes isolated acts of resistance without acknowledging the massive political and social forces aligned against the real transformation, and not just stubborn survival, of the city.
- from Guernica
A government agency’s process of communicating with the public needs to listen and educate at the same time. Citizens want to feel listened to, but they also want to understand. Metro simplified the question down to the essential non-technical value judgment, which was: “Growth is coming. Do we grow up or out? Increase density or spread out over more land?” This was the hard question that first motivated Oregon’s land use laws — laws whose purposes is not to prevent sprawl but to ensure that it’s the result of such a conscious decision.
… It was a huge achievement, but the real achievement was not just that the question was answered but that it was so clearly asked. A citizenry, through its elected representatives, faced a clear value judgment about their city. It wasn’t about approving a project or assessing some politician’s performance; it was about raw economics and geometry: grow up or grow out? No rational person could argue that this wasn’t a real and consequential question. Through Metro’s work the question got answered, and, partly because the process was so clear and democratic, the basic answer has held despite the inevitable turbulence of shorter-term politics.
- from humantransit.org