City Cultures on Display a Discourse on Urban Studies Theodora Maria Pyrogianni
“The cities of the future, rather than being made out of glass and steel as envisioned by earlier generations of urbanists, are instead largely constructed out of crude brick, straw, recycled plastic, cement blocks and scrap wood. Much of the 21st century urban world squats in squalor, surrounded by pollution, excrement and decay.”1 Mike Davis
The history of architecture is full of idealistic visions of the urban environment, while the image of the urban present fails to resemble them. Moreover, according to some of the contemporary projections of the future cities, a great deterioration of the urban environment and well-being of its citizens is to be expected. The modernist conception of a utopic world, along with the tendency for total control, irrevocably fades out when postmodern thought takes its place. Accordingly, the postmodern notion of what the urban fabric is, cultivates a sensitivity towards the local traditions and the vernacular, bottom-up, spontaneous and informal architectural expressions. 2 Urbanism has been operating through this notion ever since. This conception has extensively influenced education and research, together with the architectural profession and production. That includes exhibitions, academic publications, literature, cinematic spaces and others, with exhibitionism being the most dominant as a way of self-fashioning and promoting architectural manifestations. This essay criticizes the themes of exhibitionism and the contemporary urban design discourse through the prism of a postmodern setting. Despite their correlation, the two themes can be also understood separately as the byproducts of contemporary ideas on the role of exhibitions and the image of the future cities. Theoretical debate and exhibitionism create an oscillating cycle, which will be examined through the paradigm of a very recent show - created for the 13th International Architecture Exhibition La Biennale di Venezia titled “Common Ground” that was curated by David Chipperfield – that was the Golden Lion Award winning participation: “Torre David/Gran Horizonte.”
Origins of a discourse on urbanism Apart from a temporary exhibition at the Biennale, Torre David is the third tallest building in Venezuela and the biggest vertical slum in the world. Abandoned at the final stage of construction in the 1990s, the tower was a symbol of decay for Caracas until 2007 when,
Mike Davis’ talks about the dimensions of the world wide slum phenomenon to Nathan Gardels for NPQ magazine, spring 2006, available online: http://www.scribd.com/doc/109108098/NPQ-InterviewWith-Mike-Davis-Planet-of-Slums 2 Harvey, “The Condition of Postmodernity”, p. 66 1
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