Sauntering through Rye Lane, mid-August, amid London’s summer infection lull, something felt different. An inexplicable serenity. No cars! That was it. The road was chock-full of loitering pedestrians, congregating freely, emboldened by the sudden emergence of an informal agora. Rye lane, Peckham’s distinctly narrow epicentre, needed to make space for social distancing. As of JulyContinue reading “Car-free Rye Lane: a short-term experiment with a long-term impact”
It is a frosty November evening on the River Thames, last winter, pre-coronavirus. The Illuminated River Foundation were conducting tours of the first four bridges adorning a new art installation – an exquisitely coded LED display by artist Leo Villareal in partnership with architects Lifschutz Davidson Sandilands. Erected in July, the lights had yet toContinue reading “Illuminated River: the understated art installation transforming the Thames”
Appropriate, or indeed inappropriate, to our time of effective social distancing, I have identified two films with narratives distinctly rooted in urban sociology – Spike Lee’s Do The Right Thing (1989) and Wong Kar-wei’s Chungking Express (1994). Crucially, each film evokes a visceral reaction to the relative urban (human) condition. In Do the Right ThingContinue reading “Urban Sociology in Film: Chungking Express and Do the Right Thing”
The construction industry is entrusted with assembling the indelible structure of the urban world. The community is so often a mere secondary place-maker. Friction persists between community ideals and construction initiatives, yet neither can be accused of actively perpetuating the situation. Something within the system itself must change – likely nuanced – so as to finally reconcile the built-city with the lived experience of its denizens. I will expound this problem through the lens of the North East Link freeway project in Melbourne, upon which I was involved in the bid phase.
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Fin Harbour: Writer and photographer seeking to engage people with their urban environments.
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