urban spaces

it’s always amazing to watch adults discover how much changes when they don’t treat their perspective as the default human experience.

example: it’s been well-documented for a long time that urban spaces are more dangerous for kids than they are for adults. but common wisdom has generally held that that’s just the way things are because kids are inherently vulnerable. and because policymakers keep operating under the assumption that there’s nothing that can be done about kids being less safe in cities because that’s just how kids are, the danger they face in public spaces like streets and parks has been used as an excuse for marginalizing and regulating them out of those spaces.

(by the same people who then complain about kids being inside playing video games, I’d imagine.)

thing is, there’s no real evidence to suggest that kids are inescapably less safe in urban spaces. the causality goes the other way: urban spaces are safer for adults because they are designed for adults, by adults, with an adult perspective and experience in mind.

the city of Oslo, Norway recently started a campaign to take a new perspective on urban planning. quite literally a new perspective: they started looking at the city from 95 centimeters off the ground - the height of the average three-year-old. one of the first things they found was that, from that height, there were a lot of hedges blocking the view of roads from sidewalks. in other words, adults could see traffic, but kids couldn’t.

pop quiz: what does not being able to see a car coming do to the safety of pedestrians? the city of Oslo was literally designed to make it more dangerous for kids to cross the street. and no one realized it until they took the laughably small but simultaneously really significant step of…lowering their eye level by a couple of feet.

so Oslo started trimming all its decorative roadside vegetation down. and what was the first result they saw? kids in Oslo are walking to school more, because it’s safer to do it now. and that, as it turns out, reduces traffic around schools, making it even safer to walk to school.

so yeah. this is the kind of important real-life impact all that silly social justice nonsense of recognizing adultism as a massive structural problem can have. stop ignoring 1/3 of the population when you’re deciding what the world should look like and the world gets better a little bit at a time.

10

Giorgio Grassi: Italian Rationalist

Giorgio Grassi (born 1935) is one of Italy’s most important modern architects, and part of the so-called Italian rationalist school, also known as La Tendenza, associated most famously with Carlo Aymonino and Aldo Rossi that emerged in Italy in the 1960s. Much influenced by Ludwig Hilberseimer, Heinrich Tessenow and Adolf Loos, Grassi’s architecture is the most severely rational of the group: his extremely formal work is predicated on absolute simplicity, clarity, and honesty without ingratiation, rhetoric, or spectacular shape-making; it refers to historical archetypes of form and space and has a strong concern with the making of urban space. For these reasons Grassi is a non-conformist and a critic of conventional mainstream architecture.

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70s space capitalism: I have ennui because I want to go to school and have an exciting career but I’ll probably have to inherit my parent’s farm.  Unless I get drafted.  Throwback technology, vintage fashion, space donkeys.

90s space capitalism: I am a highly skilled laborer with unlivable wages and no social mobility.  I live with family.  CGI frog-man, wealth disparity, urbanization, cults :(

2016 space capitalism: I am a garbage-picker with a graduate degree in engineering.  I speak seven languages and live alone in dirt. Please give me food.  Cults? :)

10

Media library [Third-Place] in Thionville

This project by Dominique Coulon & Associés has the ambition of becoming a new model for media libraries. The programme calls the functions of a media library into question, lending it the content of a ‘third place’ – a place where members of the public become actors in their own condition, a place for creation as well as reception. 

The facade serves as an unfurling ribbon that serves as a backdrop to the different universes contained in the programme. At its closest to the street, the ribbon dips, the better to contain it, rising again where it stands further back. In the hollows, the border between the interior space and the urban space is less clear and makes it possible to come closer, to embrace the building visually. 

The unfolding of the outer envelope accentuates this impression of infinite space. In this “ineffable” space, the notion of gravity seems to disappear – the roof and walls appear to float. This sophistication generates a “plastic acoustic” that lends this new place an atmosphere which transports and re-examines the relationship with the body and fluidity. There is no unequivocal reading of the space; the perception one has of it reveals a complexity and an unexpected richness. It is a place of freedom.

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🌛Waxing Moon Emoji Spell🌜

🌑🌒🌓🌔🌕🌖🌗🌘🌑

✨As the waxing moon boasts its glow and opulence, so shall I.
🌙As the moon illuminates the night, so shall I.
✨May the moon’s pearl-like shine reflect my best qualities.
🌙May courage, friendship, luck, health, love, and success flourish!
🌑🌒🌓🌔🌕🌖🌗🌘🌑

🌔Like to charge🌖
🌕Reblog to cast🌕

 “They say if you hold your breath for exactly 13 seconds at 3 a.m, while passing through the Grapevine on the thirteenth of the month during a new moon, you’ll be able to see the Spirits of the Liminal for seven seconds. Do not blink.”*

*No one says this. I made it up.

Just a little speed painting inspired by one of my favorite liminal spaces on the way into the Los Angeles area in California.