This chapter contains sections titled: The Aztecs and Their Kings Nezahualcoyotl: Renaissance Man of Aztec Culture The Uses of Nezahualcoyotl: Bridging Spanish and Aztec Cultures Nezahualcoyotl's Place, and the Place of Gardens, in Aztec Political History Texcotzingo Notes.

Don't tell terrible stories—everyone here has enough of their own. Everyone here has a whole bloody sack of terrible stories, and at the bottom of the sack is a hammer the narrator uses to pound you on the skull the instant you dare not believe your ears. Or to pound you when you do believe. Not long ago I saw a tomboyish girl on Khreshchatyk Street demand money of an elderly woman, threatening to bite her and infect her with syphilis. (...) Don't stroll through Volodymyr Hill Park, don't stroll around the botanical garden, and especially don't stroll on Kontraktova Square. Don't stroll anywhere. Don't go to the pavilion with the Golgotha panorama near St. Alexander's Church. Not even the twelve-meter-tall crucified Christ will save you. Don't go outside when it's dark and people turn into shadows a shade darker than dark. Also don't go where you can be seen from far away. Not to imply that people used to be like a bunch of lilies, but now they stink like a cellar of cabbage.The city, which earlier might have had some fun, is now going crazy. It's like a fish in warm water: it doesn't react to anything, swims slowly like it doesn't care if it swallows a hook or not. The excitement and exaltation pass into oppression, just as our necks have sunk into our shoulders, our shoulders into our lumbars, our lumbars into our nether regions. The holiday turns into a funeral, the parades into explosions, depression into mania. Winter passes into summer, people turn into beasts, the hours into ages, and the ages into hours. It's worth simply walking around the city to see a soldier from an unknown army taking a piss near the opera. Farther on is a row of identical old widows selling ball gowns and candelabra. Then there are the aristocrats and manufacturers who throw so much at the prostitutes that they'll soon be richer than their wives.I returned late through the Kyryliv Wood, not heeding all the warnings that I myself have given here. It really is dangerous—the place is famous for it. There's a madhouse nearby, caves where criminals and the sick can hide out. Also, once upon a time, as they say in fairy tales, the great dragon Zmei Gorynich lived here beside the Puchai River. The stench in these places drives away the most committed misanthropes and even one type of philanthrope—that is, perverts. It sounds dumb, but the stench is cleansing. I don't know where it comes from. After the operating theaters and the rooms with amputees, the stench no longer repelled or attracted me; it just was. And this was a great place to think. As I walked, I considered an incident with our patient.The patient, a respectable individual whose name carries too much weight for me to state it directly, one day began to assault people. He nearly strangled a merchant who he believed asked too much for a beaver coat. He likewise wanted to kill his business partner when he didn't say hello loudly enough. But the worst was, he lost all shame of his own nakedness. At first it was the police who took care of it. When our future patient slipped off his pants and undergarments, he was taken to Kyrylivska, which has had means for dealing with such cases dating back to the day when unhinged Cossacks and composers from Kyiv Mohyla Academy were taken there.During the examination we determined that the patient was experiencing a severe breakdown. His wife added that lately, more than once, he had allowed himself strong words in front of the children and often suffered from ennui. Furthermore, she said, the patient had been undergoing treatment for “the French disease” for some years—which was, obviously, where we needed to start.“Syphilis!” Skorsky spat out the matchstick he was chewing on. He was a specialist on the psychological aspects of diseases related to the venereal. “Tertiary syphilis! When poorly treated, over time ‘the French disease’ can destroy the central nervous system. Hence the patient's chicanery. Such theater!”Skorsky and I had not spoken since the incident at Bilinsky's. Meanwhile, something significant had happened to him. The most boring person on earth, Skorsky had simply caught fire. He said hello and kibitzed. I even heard the doctor got drunk alone in his office, then wandered through the forest. Could he be using narcotic substances?“Cocaine!” was the doctor's second proclamation. It was his favorite treatment for the psychological complications of syphilis. Skorsky himself never took what he called “the universal drug”—good for alcoholism and toothaches, neuroses and morphine dependency—though he had read in an article by a respectable Viennese physician, who used cocaine as a panacea, that it was not addictive. That doctor subsequently recanted, but Skorsky paid no attention. He believed the retraction was made under pressure from pharmacologists who had no incentive to cease production of the medications that cocaine might supplant. Their representatives either paid or threatened the Viennese to repent.As the patient was escorted to his room, he assaulted the orderly, Alevtyna. They tried pulling him off her, but, though he released his fingers from her neck, he buried his teeth in her leg. The poor orderly, who had not until then been attacked by a psychotic, nearly died of fear. Later, panic set in over Skorsky's diagnosis. He told her about the consequences of syphilis: grotesque patterns on one's face due to infection of the skin, mucous membranes, cartilage, and bones. He went on about the devastation to the central nervous system, which they had just observed in real life: “The face starts to look like lace some mangy dogs fought over before rolling in the mud.”Alevtyna, who had not yet regained her faculty of speech, straightened up. Ignoring the slavering male orderlies, she bared her leg to get a better look at the wound. She then ran down the hall and out into the garden, where she fell on the ground to rip up grass and small bunches of daisies. Alevtyna ate them along with the soil in their roots.“Minor hysteria. She needs fifteen milligrams of cocaine.”Skorsky took a snuff box out of his pocket and scooped up some white powder with a toothpick made from a goose feather. He gave the order to close Alevtyna's mouth and one of her nostrils, forcing her to snort the medication.We fretted over her so long that evening fell. I decided to walk down, along the ravine, behind the church.It was unlikely there were any large beasts there, but something was rustling. The pits and mounds, ravines, paths, graves of witches whose living sisters flew in the treetops from time to time, the whispers of the forest spirits, the spirits of the nutcases who died in the hospital, the spirits of the monks from the St. Cyril Monastery, Zmei Gorynich and the bogatyrs who wanted to defeat him. The city would be calmer without this forest. I saw the gaps between the trees and went off in the direction of the tram tracks.As I was coming out of the forest, there was a patch of Amanita muscaria that had been trampled into porridge. A bit farther on, the body of Professor Bilinsky lay killed in the blackberry bushes. The way he was lying it looked as though he had not struggled before death. I quickly examined his body but saw nothing out of the ordinary. There were no wounds, no dirt under the fingernails. Animals had not yet smelled the carrion, but swarms of various insects covered him. Oh, why did I have to find the putrid body?The best thing would be to take the tram to his house to inform his relatives. The doors closed, and I noticed my own calm. This death had not evoked any emotions in me other than a feeling of responsibility, the need to tell the family. But also—some alarm at the thought of who the murderer could be. I knew that it was murder.“Your nose is bleeding.” A woman as round as an onion, carrying two baskets full of strawberries, offered me an ironed and starched handkerchief.“Have I dirtied my shirt?”“No, it's as neat as a pin. It's just your nose that's dirty. Wipe it now before you spray blood on my strawberries.”“No one will see the red on red.”“Ah, but it's salty!”“You know why it's not sweet? We'd drink it like syrup.”“Those with Christ in their heart do not talk that way.”“Are your strawberries expensive?”“Why? What?”“I'm checking to see if you have God in your heart.”“Child, if you knew how I have to work for this berry! I have to weed it a hundred times. In a week, the quitch grass grows as high as a horse. And I water it with water I carry from the stream, it kills my arms... ”“How much are the berries?”“They're not for sale. Anyway, soon money won't mean a thing. Soon all money, all these papers made from the skins of sinners on their satanic presses will be annulled. What matters is how we treat each other.”“So if I try your strawberries for free, my ‘thank you’ will be enough?”“Hands off!” she said and thwacked my fingers.I heard loud laughter behind me—same laughter as from the café near the Continental. There was no one sitting near Alina. (This is what fate looks like, remember.) Without asking, I sat next to her, away from the old lady.“Excuse me, but the night before last didn't you, yes, didn't you intrude on my privacy?” She started right away.“I saw it a little differently. Who was that young man with the mustache who paid me for you?”“Are you checking to see if you can flirt?”The tram stopped. People got on and off.“Are you coming back from the hospital?” she asked. “Don't be shocked. My uncle works there. He's told me all about you.”“An uncle by the name of Skorsky?”(Remember: this is what fate looks like.)“Yes. Skorsky's been strange recently—says things that make me wonder if he hasn't lost his mind. Have you noticed anything?”“I don't know.”“You know perfectly well.”“Where are you going?” I tried to change the subject.“I have to send something to my theater friends in Odesa. By the way, they'll be putting on Oedipus Rex soon in Kyiv—in Ukrainian.”“Greek tragedy in Ukrainian! That's a first.”“Exactly. The troupe is rehearsing now in Odesa. The theater where they will perform this fall is being remodeled.”“Wait. Now I remember where I've seen you before—it was at a performance! Vynnychenko's Black Panther and White Bear, at the Bergonier on Fundukleivska.“The same director is doing the Oedipus. He's my friend.”“He's your friend in what sense?”“Again with that tired subject. By the way, I've been thinking about you.”“And I about you.”“That's good. I was thinking not about you, to be precise, but about that elevator you invited me on.”“Who was that man with you?”“Like a broken record! Even if he had been my fiancé, I'm not bought or inherited. I'm not a brooch or a hundred acres of land, and I'm not a house in Kaniv!... Who was with you when you saw Black Panther?“Ah, so.”“Answer!”“That was my mother. She looks very young. She is coming to Kyiv the day after tomorrow. I can introduce you.”“Oh, this is my stop.”I looked out the window and realized that I had long since passed the stop for Bilinsky's.“Can we see each other again?”“We can. But you have only one chance.”Alina the anarchist wrote something on a scrap of paper and handed it to me.Morning, not morning but a thick porridge (I hate porridge). Dew, thick spit, crushed fruits, urine, all on the sparkling cobblestones. The sun, just barely having made its appearance, is already scorching. The human masses scurry and grumble like poorly digested food inside a stomach.I walked diagonally across St. Sofia's Square, then along the perimeter, then one edge, then again diagonally across. I went underground. The basement café of the Continental Hotel was practically empty. I again asked the server to bring the cloth with the embroidered portrait, but I couldn't remember the musician's last name, only that it ended with -sky. The server said that -sky was currently in the southern cities of Yalta and Odesa. I added that Kurbas, the director, Alina's friend, was also in Odesa, rehearsing Oedipus Rex, and that he'd previously put on Black Panther.I was bored, so I walked along Khreshchatyk and then headed down, calling to mind all the Kyiv churches of Podil: there's Birth of Christ, St. Nicholas on the Shore, Intercession, Pyrohoshcha, Holy Presentation, St. Dymytrii Rostovsky, St. Illia's. And also the Epiphany Brotherhood Monastery, Ascension Convent, and St. Katherine's, all these whipped-cream churches on the waffles of our streets. A few of them reminded me of themselves by appearing suddenly out of nowhere.The smells on Kontraktova Plaza where commerce buzzed were like multicolored light bulbs turning on one after another. Here you could catch the aroma of Balabukha jam, which blended with the next smell, English shoe polish at the Raiskys’ shop. Then the crunchy-smelling cabbage from old women standing in a row like herons and spitting out the shells of sunflower seeds. Farther on, the stench of a good-sized rat that crawled under Mrs. Shevchuk's shop where she sells broadcloth. Oh, she can't scream: no, she'll quietly dig that rat out herself so as to not scare off her clients.I bought a paper and two pairs of underwear. I asked two laughing young chambermaids who were secretly puffing in a grape-filled yard for a smoke. I wandered around Podil until evening when I came across a sawmill near the Dnipro that surprisingly smelled pleasantly of mazut fuel oil. The weather was dry, yet in the middle of the road was an enormous puddle, a deep dark black. A forty-year-old woman in a pale pink dress stood near it. The theatricality of it all provoked me to pose her a question,“Ma'am, what should I do?”But she paid me no attention. I shouted,“What should I do?”“What to do, what to do?” she said in Polish. “Jump in the water and swim so far away that you cannot return.”I quickly crossed a section of the forest. The wind brought a mixture of unpleasant air, like a stinky handkerchief held under one's nose. Passing the trees, I saw light in the spaces between them and exited at the hospital.Outside the windows, two orderlies lay in chairs with their heads thrown back. Two others—fools—ran around the yard in different directions, peering out at... something. The lights on the first floor of the hospital were on, and the staff milled about.“You're just in time!” said Ivan, a tall, young orderly.“For what?”“Your patient ran away! We went into his room and he wasn't there.”“What patient?”“The one who bit Alevtyna,” said Danylo, the other orderly, short and middle-aged.“That's Skorsky's patient, not mine.”I had no intention of helping them. This was all history—like my family, Kyiv, and my previous life. I had no intention of thinking about it. I wanted to go to my office, pack up my field surgery kit, and get out. So what? Their psychotic syphilitic ran away—it happened.Of course, that patient could have something to do with Bilinsky's murder. But that was no longer my problem.“What a strange coincidence!” the doctor on duty said. “Comrade doctor, the other one responsible for this patient was just here.”“And where is he now?”“He took off toward the church to look for the patient.”“Didn't the patient escape earlier?”“Don't know.”“How do you not know? You had better call the police, moron, before he kills someone. And get those sleeping orderlies to look for him.”“They can't... ”“Why not? Should I go wake them?”“They're on morphine.”“And you, I can see, have lost your mind. Go, catch your psycho! If it turns out that he killed Bilinsky—and on your watch—you can't imagine what's in store for you.”I adjusted my homburg and set off in the direction of St. Cyril's, that unwelcoming monolithic cube. I glanced around—what if our escaped syphilitic were to jump out of the bushes and bite or strangle me. I looked around because I wasn't sure of my actions, wasn't sure of my choices. Tripping over a clump of clover, I reached the open doors of the church. I couldn't stop myself from going in.The walls and ceiling were covered with frescoes. There was what used to be an angel rolling up the sky on the southern column of the narthex. But also graffiti: people scratched their names on it so as not to be forgotten—their idea of eternity. Prince Volodymyr the Great compared this activity to the desecration of graves. The vandals paid a fine and were beaten with canes. During the raids of Batu Khan, the church was deserted and cracks appeared all over it. Wild martens and feral dogs sought shelter here; insects swarmed under the ceiling with its red mosaics. Birches grew in its midst. Water seeped in the cracks, the water became ice, the ice widened the cracks, more water seeped in the cracks, becoming more ice that further widened the cracks, the wall split and nearly fell over, and then the wall fell over. Yet the angel is still rolling up the sky... When I reached the exit, I heard a rustling behind me. I turned after I stepped outside: in the depths of the church, like a stick in a pot of tar, stood a man with a large bag thrown over his shoulder and a revolver pointed right at me.“Is that you, Doctor?“Don't move!”“What's... Skorsky, what's with you?”“Don't move, I say!”“What are you doing here?”And finally I understood... Skorsky was himself the psycho! (Really, I had known for a while.)“You are the murderer! I knew it! But—why?”“Shut up.”“It was you. You! The stolen cigarettes, the strange behavior, Bilinsky. If I shout, everybody will come running. They've already called the police!”There was heavy breathing behind me. And then a gun rang out.The city is overgrown with new buildings. They encircle everything that was once on the periphery. Kyiv has become an old lady that can no longer restrain herself in the face of pastries. The city climbs farther. It steps over the swamps, turns the old rivers into a series of lakes; the other bodies of water it drives into canals. The grain that falls from the wild wheat is black. When the sun heats it, the grain melts and trickles into the earth. St. Cyril's stands indestructible. No one spackles the small cracks in its walls with either expensive putty or glues, nor with cheap cement and whitewash. One day a small fox appears in the doorway. It runs inside and along the floor of simple gray tiles. The gods watch from the walls, watch and fall into ruin. The fox runs to the iconostasis. Before it is a time-darkened Virgin Mother and Child in oil on sheets of zinc. The fox runs the metal steps that wind up to the second floor. The fox runs past all the vaults, naves, all the frescoes. A buckthorn seed flies in through a broken window. It will be the first. Soon the buckthorn will grow everywhere. A dumb hare will make its nest in the buckthorn bushes and nightingales will settle in the upper branches to sing until the end of the world. The fox runs between the thick rays that penetrate the windows. It catches one of the rays, squints its eyes, and warms itself in the sun.The shot rang out, but I did not fall. I looked around—and on the church threshold was our syphilis patient bearing a rod. His head lay on the rocks by the doorway.“If only he'd been at the stage of nose deformity! Just imagine: a hole instead of a nose plus a hole from the bullet—like an extra pair of eyes!” Skorsky laughed at the corpse.“We need to call the orderlies.”“They heard the shot. They'll run here on their own. You see, Professor Bilinsky believed it would take two or three years to wrap up this patient's case,” Skorsky told me. “But I took care of it much faster!”“Excuse me, but I'm going crazy in this city. I thought that you were Bilinsky's murderer.”“Just so. Why not? I am Bilinsky's murderer.”“Don't tease. You've changed a lot recently, so... ”“Yes, I've started killing people. You might term such a change significant.”“You have the right to irony.”“I am not being ironic.”“Let's call it sarcasm.”“It's the honest-to-God truth.”“And yes, you have the right to mock me.”“Well then, let's be done. To the horses!”“What horses?”“Alina's waiting!”Alina, her uncle Skorsky, a few others I didn't know, and I rode like the wind that ripped off my homburg and carried it back to Kyiv.“There's a fresco in the choir loft at St. Cyril's where Vrubel painted himself and patients from the hospital as the apostles. When I came across it by accident, I really believed they were saints,” Alina said.“I've never been up there. I've only seen the church from below.”“Remember the way back so you can see it sometime.”“The Puchai River used to flow here. You shouldn't trust the landscape,” Skorsky said, reaching for something, perhaps his bag, just when we left the darkness of the trees and saw the endless steppe ahead of us.We rode all night without stopping. Though no one was chasing us. Though we had nowhere to be. We rode like beasts released from a cage. The promises of the horizon turned what we'd left behind into a cage fit for those from whom freedom had been severed, like an anomaly, at birth.The pre-morning sky looked at first like a sack of turnips—filled with something heavy. But with each verst, the sky became lighter. When it was finally light enough to see clearly, we arrived at a knoll at the foot of a stone wall that from a distance had appeared to be a gigantic piece of halva. The exterior ruins of the castle gave no hint of how it was when all was fine here, when people defended themselves successfully from the nomads’ raids. From far off, the wreckage looked like a natural agglomeration of stones—a rocky elevation, no more: a cluster of cliffs. It would rain a few hundred more times, a few hundred more winds from a few hundred directions would blow on this heap, and it would collapse as though nothing had ever been here.A few stalks of wheat grew from one of the rocks. Someone had probably cast a handful of grain here for some birds that forgot to eat it.“Who could this castle belong to?” I asked Skorsky.“I reckon the Swan Princess,” the doctor rejoined, hoping to sound knowledgeable.From behind one of the piles of gray sandstone emerged a young man in a black reptilian coat and a white papakha as lush, bright, and out of place as a dahlia. His name was Artem. The heat was melting our brains, but he was dressed like that, in rooster fashion, which was popular among the otamans. Artem helped Alina dismount her horse and tried to kiss her on the lips, but she offered him a cheek instead.Had she been racing to see this clown?We entered the yard—the ruins had fashioned an internal space that was more or less protected, at least from strangers’ eyes. It turned out that there were even places where it was possible to hide from the rain, and from there the ruins didn't look half bad.In the center of the court was a table, and on it a wooden bucket with pink gladiolas. How romantic! It all looked like it came from outer space. Where on earth, in the middle of the steppe, far from any village or town, did this table, this simple table, come from? And the gladiolas? The steppe hadn't been plowed in so long that any cultivars would have gone wild, degenerated, dried up completely.A campfire crackled nearby—a little preview of what we would soon do to the houses, villages, and cities. Artem the otaman brought over a cezve from the fire and poured the first portion into a small, copper cup for Alina. He also got out a porcelain cup with images of rosy cherubim—but how...?“Who else would like coffee?”Only Skorsky and I responded. The question excited me, even distracted me from the thought of the kiss I had recently witnessed and the Kyiv I had recently left.“It's obvious who the professors here are; cultured people drink coffee. Are you both doctors?”“Uh-huh.”“For wolves of the steppe, like us, doctors are gold, even more precious than gold. Actually, a Hippocrates like you should eat more, because those in your profession will soon be worth your weight in gold. Work on your figures, both of you.”“Who will take pity on the horses that have to carry us?”“We'll find the horses. And very large doctors can be transported on machine-gun carts. We'll need to seat the otamans near you. Only a fool would shoot at a doctor.”“I think we'll find quite enough fools here.”“With your beard, Doctor, you look like Tsar Nicholas II. But even so you won't be shot. You might even be canonized!”“We've only just arrived and you're going on about executions,” Skorsky grumbled and checked to make sure that he still had his bag.“Apologies, apologies, pardonnez-moi. But you are not merely a doctor. A venereologist! Skorsky, you're a specialist! A venereologist is the most important person in wartime. The most valuable! You are the botanists of war. You can't imagine what varieties of flowers grow here, and these beds have long awaited a proper gardener. Or even just a man with a scythe!”“Bite your tongue,” Alina said. “I don't need to listen to this.”“Yes, yes, of course. Excuse me, my r—. ” He almost said “rose.”We rested all day. We went down to a surprisingly close river overgrown with lilies. We rowed the boats left by fishermen. I talked to Skorsky. He took his bag everywhere, refusing even to swim so he wouldn't have to part with it. I asked him what he had in it, but he said it wasn't my damned business.Alina rowed with the otaman to the middle of the river. They were having a loud discussion. She was waving her hands. The current carried their boat downstream slowly and smoothly. What a nuisance, that current!I tried to meet with Alina one-on-one, but she was avoiding me. In the morning I was confused, by lunch I was sad, and after lunch I got angry.In the evening, I lay on the hot grass and drank another cup (I have no idea where they got such good coffee), which had no effect at all on my sleep. I watched the Perseids. Every year, the Earth passes through the tail of Comet Swift-Tuttle. People can see the meteor shower and make a wish. I wished. I counted forty-seven falling stars. All forty-seven of my wishes were for the same thing.Around the campfire, they were sitting, talking. I saw how he tickled her face with a piece of grass and she brushed him off in annoyance. Then they were screaming at each other. Later they again spoke kindly, after which they again quarreled. My joy grew after each tiny mistake that Artem made. I wanted him to show the worst he was capable of.They were screaming at each other, but all I could hear was beautiful opera singing. The stars fell to the sound of their screaming. The stars blessed my joy.Then this happened: Alina kicked the fire, scattered burnt kindling, and burned some of the grass. Artem grabbed her by the arm, but she broke away from him and ran off to the horses.“Go then! I guarantee you'll get to Katerynoslav and return with your tail between your legs.”“I'm going to Huliai-Pole! To Father Makhno!”I jumped up and ran after her.“Where do you think you're going?” Artem shouted.Really—where was I going? I was going after her: to Huliai-Pole, to Katerynoslav, to Rome, to Washington, to Istanbul, to Montevideo... “Go to sleep,” he said. “Come morning, this coquette will be here, right as rain. We've already been through this show. Tomorrow she'll be right here next to my boot!”... No, she won't.In some sort of shape we entered some town. There were some buildings that were some colors, some trees, some streets, some roads, and some signs. Posts, flustered birds’ nests, echoes, colors, shapes—each of some kind. A wedding procession was coming toward us. If you want to make orange, you need to add yellow to red, and then bam—it's black. If you want to salt the soup, shake in a little, and then bam—two handfuls. You want to say a kind word, and then bam—a punch in the face. I was rocked around like a watermelon on a boat and threw up my breakfast straight into the horse's fluffy mane. Sanko found this hilarious, but I said I'd pulverize him. So Sanko sped ahead.No one knew anything about Alina. The daytime sky was like a poorly washed bowl. The sun was a squashed, rotten apricot. The night sky looked like the sole of a boot to me. The moon was a dirty cheap copper coin that had gotten stuck to the sole. Everything seemed spoiled to me, irrelevant, unnecessary. Without her, this journey was a waste of time.“You'd better stay away from everyone,” Artem said. “You'll infect us with your pining, and pining is worse than the clap.”The wedding procession was before us. The young couple, still utter children, walked so calmly it was as if they didn't see us. As if we were made of a light breeze—our bodies, clothes, our horses and their iron shoes—of the lightest gasses. As if we were visible only to ourselves and the coal-black dog that barked, panting and gasping.The wedding was headed straight for us. We were in the middle of the road, and so were they. We approached each other slowly, a wave going toward a wave. Some ten meters before their indifferent faces, I noticed the color of the bride's eyes. And the coral-colored tulips that fell on the road before her. Round goose eggs on meaty stems, the flowers were falling and falling before her. The bride's eyes were almond shaped.“Hey there,” Artem shouted at me. “Wake up!”I came to and saw the whole village, everyone there, not realizing my group had turned left onto a side street away from the procession. The tulips disappeared—where'd they get tulips in the fall? I was sitting alone on my horse in the middle of the road, and the entire wedding procession came to a stop. I moved to the side, and the throng marched on, cutting off our escape route. We rode a few more meters and came across the synagogue.“You know what, you're right,” said the otaman.“Who is?”“Oleksii is the only one here who's right.”“About what?”Artem turned his horse and raced back. Everyone stood still while he ran his horse into the crowd and began firing his revolver. People scattered in all directions. Artem trotted, cackling like an imbecile. The horse kicked an old guy in the mouth. The man fell, spitting out his gold teeth. We rode up to the commotion and formed ranks, but none of us wanted to join the otaman.The bride stopped in the middle of the street. On both sides were buildings and trees, as well as dust, sky, and sun. She stood still, beautiful, as if nothing had happened. Then she adjusted her garland and walked calmly on.“Well, should we get some sugar now?” Artem laughed, looking at the bride, and off he went toward the sugar factory.It was then I noticed that all of the houses had shutters—fuchsia, blue, ocher—and that all the shutters were closed.We flew toward the dirty building, whistling and shouting. If there had been aesthetes among the otamans, they would certainly have razed the abomination in this field after seizing it. They would have spread soil on top and sown buckwheat. Long live buckwheat!, that wonderful crop. Like hunting dogs hot on the trail, we raced to our defenseless victim, with the baying of hundreds of hounds behind us. The field shook beneath us. We became an artist's canvas, evolving from Realism to Romanticism, Romanticism to Expressionism, Expressionism to Suprematism. If we had been painted in black and white, we would have been splotches (until the ink ran, annihilating all remaining patches of white).Two men stood near the gate—unarmed and undressed, in nothing but their undershirts and boots. Our fervor, our kinship with the elements, our entirety, were all for naught.“Jesus Christ! What bores!” Artem exclaimed. “How boring you are!”“Maybe boring for us, but fireworks for them,” Sanko said, dismounting his horse.“The fear of death engenders creativity,” our otaman—a distinguished philosopher of the early twentieth century, that demonic breed—prophesied.He went on, “Excuse me, but with all due respect, we are not going to search you. Just show us right away where the money is. Why are there so few of you? Don't say there's not much money. I want piles and piles of money! If you don't show it to us, we'll print our own on your skin. Believe me, we will.”We entered the factory grounds. There were no workers, only an enormous mountain of sugar beets that looked like a pile of coal from a distance and a pile of dead rats from up close.“So, did you have a good year?” Artem asked a man in an undershirt.“Not really—too dry.”“Nah, that's fine. You wouldn't have been able to gather most of the harvest this year anyway. There's a fire burning across all of Ukraine, all of Russia. The whole world!”While Artem tossed thoughts like well-chewed sunflower seeds into the crowd, the two men quietly stepped aside and then ran fast ahead to the factory's main hall. The gigantic door slammed shut. The gate was locked behind us! The windows were smashed! The factory roared from inside like a cumbersome machine starting up. Bullets whirred through every window.“Bastards! It's a trap! Quick, after me!”Still on horseback, Artem bounded over to a vast window, low to the ground, and smashed it mercilessly. He broke the frame and jumped inside on his horse. I and a few others followed. We broke into their lair, threw open the doors, and let the other warriors inside.Iron vats of hot sugar were steaming, pipes were clattering; machinery groaned.“Parasites!” Artem gritted his teeth. “I'll get you. I'll get you red sons of bitches. Painted whores!”At the word “painted,” his horse fell to the ground. Lying prone, Artem continued fighting, but the red soldiers wouldn't let him stand. Fighting nearby, I rode over to assist but did not know where to aim. Artem got up, ran forward, and brought his sword down on the head of the closest soldier, all the way to the middle of his skull, to the bridge of his nose. It was like butchering a pig. Artem thrust the sword into the buttock of another who was fleeing and cut off his leg at the bend in the knee.“I'll cut off every last one of your asses! Cut off your asses!” Artem bellowed.A half hour later, the dead were lying, the captured sitting, and the victors doing anything they pleased.“Skorsky, are there a lot of casualties?” I asked the doctor, whose hour it was. I hoped not, because I was too tired to help him.“Just a few. The dead are already dead, and the wounded are not ours.”Though Skorsky rarely asked my help, and though I'd become an ordinary soldier, the doctor in me was still present in the most unpleasant attribute—knowledge. Others saw an eviscerated man, pieces of dusty flesh smeared with clay, soil, sand, and straw. I saw a perfectly formed kidney hanging perfectly from the rest of its body like a child's mitten from its coat. You could try this death on for size. Wear it like a sanbenito of the Inquisition.Artem counted the money and then lay on the floor alongside the gigantic sugar mountain in the middle of the room. From time to time, the crystals rustled as they fell.“I didn't think you'd be such a fighter!” the otaman said without turning toward me. “I thought you'd be healing us. You'd keep to the rear and we'd hide you like a girl. But here you are, in the vanguard, like a lion!”“I got excited,” I told him, choosing not to react to the “girl” part.“’Cause Alina said there was no sense counting on you to fight.”“Really?”“Does that sting?”“Why would it? I'm a doctor—not everyone is. It requires a brain. Unlike waving a sword.”“Yeah, yeah. I gave her gladiolas. We were lying in the boat near that castle, doing all manner of things, and she told me all about you. How you met.”“You were lying in that boat talking about me?”“It was the day before you left Kyiv. You agreed to go with the anarchists so quickly!”“Were you surprised? Doctors make fast decisions.”“But you probably had great prospects. Your parents are rich, right?”“And who are your parents?”“Probably all your relatives fled abroad—bourgeois. Why did you stay?”“What the hell's your point?”“Alina, by the way, died a while ago. Probably.”“Don't jinx her.”“Listen here,” he said, staring at the ceiling. “And listen good. If you have designs on her—dead or alive—it's best you castrate yourself now.”“After you.”“If I want to kill somebody, you know, I just do it.”At last he looked at me. I was lying on the floor nearby and looking in his direction, sweaty and relaxed, my appearance complemented by my disdain for his opinion, his authority, his stupid hat. His everything.Artem raised his arm above his head, stuck a finger in the sugar mountain, and licked it. We both got up. Had I anticipated this turn of events, I would have readied a gift for him. Artem held his revolver. Under my hand I found a knife the workers used for gathering beets: it was a deliberately sharpened arc they sank into the swollen brassicas. I jumped up and quickly stepped around the sugar mountain.Artem's bullet hit a pane and broke the glass.“Not man enough for hand-to-hand?”The otaman shot again.“You should've challenged me to a duel, you romantic!”Encrusted with white crystals, I charged Artem from the sugar mountain. We fell in, and the sugar stuck in our hair, mustaches, nostrils, armpits.The gang ran in to get us apart, then backed off because it had nothing to do with them. By now the sugar mountain had burst its banks. Of the once perfect pyramid, a deformed mound remained.Wounded, Artem fell on the sugar mound, turning the white red.I stood before the gang sugar-coated and holding a bloody hook. The old otaman was drawing his last breath. Blood trickled from the corner of Artem's mouth and streamed from the left side of his breast.“What's the commotion?” Old Roman had just come in.“Be quiet,” the boys told him. And a good thing they did.“You killed him? You killed the otaman!”“Shut your mouth,” the boys told him.“You... ”I slugged Roman's stinky herring mouth. How did that son of a bitch find pickled herring in a sugar factory? My fist was now bigger and stronger than ever before, a steel anvil that could split nails and shatter memorial plaques. The unfortunate man's jaw twisted like an upper millstone that had gone off track from the lower.“Let's get out of here and go to Makhno's camp,” I gave my first order.We galloped so fast the grass burned beneath us. The birds and bugs had no time to fly out of the way; hooves trampled the burrows of rodents who didn't dare crawl out of their holes for a long time after. We raced like no one had ever raced before.The steppe, that sly fox, pretended to be an innocent fool. The steppe said, “I'm like Adam: I don't even know my own name.” But its grass harbored the tracks of thousands of armies and the heels of Herodotus, the crunch of Trypillia vessels, and the smell of Scythian hemp, Roman coins, clay figures of wolf people, the chevrons of Denikin's army, glass from the Chekists’ ruby stars, traces of uranium from flying saucers. I threatened it: “Steppe, show me your layers, or I will burn you, plow you under, flood you.” But it just replied: “I'm like Adam: I don't yet know my name.”I lost geography as if it were a silver coin. It fell out of my pocket and rolled through the feather grass that blanketed the steppe in white foam. The open space ahead was so endless that the whole world might as well have been steppe. If people ended up here from somewhere else, they would conclude they were on another planet. The coin fell and became an argentum, became one with the ring on the hand of the princess who had one green eye and one blue, with the twisted candlestick at the monastery on the other side of the steppe, with melted ingots. It broke down into simpler elements, simpler and simpler yet. The horse carried me spreading the seeds of northern plants to the south, just as southern riders had once brought flowers and weeds to the north. And then I turned back. Just as I had no geography, I had no time. Every night I fell asleep with the thought that the next day I would again race. Through all spacelessness, all timelessness. I exchanged one horse for another, got on a train, on a boat, traversed forty versts on foot—in rain that brought the river up to the road, in heat that overturned cattle. The earth I walked on became mine. Mine was the water in the lakes and springs, clean water, dirty water, enlightened water, contaminated with oil, stinking of algae, of fish that died in wells, stinking of the memory of atrocities, water as clean as broken bread. The water did not become Alina.I was doing this for her: I got the basturma out from under my saddle, sodden with the horse's sweat, sliced the throat of a rich man whose daughter I had danced with at a ball, climbed into a vat of beet juice and took a sugar bath, carried out the expropriation of the savings banks, wiped the sweat from my face with my shirt—and the cloth turned red; I didn't know from what. If it was someone else's blood, I didn't care; if it was my own, even less.We mostly came across Reds. We scraped them up like old red paint on a door in order to repaint the boards black. Black looked better. Red is tasteless, but black has style. Healthy men died before us of myocardial rupture like bunnies found in the nest. The ones whose hearts were sewn of steel wire envied the deceased. Seizing estates, banks, distilleries, and prisons reminded us of gathering in the harvest. If you're too lazy to pick an apple, you can shake the tree; some of the fruit gets bruised when it falls. We seized buildings like we were shaking apple trees. No one picked the fruits, we just shook: shook under the beds, under the tables, behind the curtains. No, there was no picking. We just shook until the red juice spurted from the apples.Near the Khorol River with Father Makhno and me in charge, we captured sixteen machine guns and four cannons, as well as five hundred prisoners who immediately came over to our side. The villagers voluntarily gave us bread and cheese, chickens and kvas. People joined us. The front of the machine-gun cart said “You can't run,” and “You won't catch us” at the back. We took factory after factory. Millions of karbovantsi, thousands of poods of sugar, weapons. We smashed the telephone exchanges and captured the telegraphs. We made alliances with some and then with others. Lenin, Wrangel, Frunze, the Germans, Chinese, Australians, Kaiser Wilhelm II, Cleopatra, Maria Theresa Walburga Amalia Christina. We ran the steppe. There were a hundred thousand of us. There were three hundred thousand of them. There were three hundred thousand of us. There were a million of them. There were two million of them. We were all of humanity. We were so many that we were none.The nobles’ estates were long ago forsaken. In the people's deepest trunks lay silks and guipure laces that were once perhaps used only to cover a table. Five steps from the barn in the direction of the pear tree, some silver candlesticks are buried; there's a plaster figure of an angel in the chicken coop, covered with shit and feathers.I was reluctant to be going to my home, but I didn't see any way out. Fate intended me to be a different being from the one I was before.Here my grandfathers and great-grandfathers were born. Here the ones who caused my grandfathers and great-grandfathers to flee had stopped. When we were still far off I noticed that someone was in the house. It was our men—Skorsky had brought them here, about twenty in all. I asked Sanko, whom I had walked with side by side more than once, where the doctor was now. All the men answered that he was around somewhere, but I didn't see him that evening.In 1918, the spirit of my great-grandfather Stepan, along with my mother and uncle, had gotten into a britzka and scrambled off to Paris, to Napoleon, against whom my great-grandfather had fought with the Cossacks, to whom the Russians promised to return self-rule. Following him in the cart went the soul of Grandpa Oleh, who lost a finger when he cut down the old linden near the house; his second finger was blown off by a cannonball near Balaklava, and later his entire hand was cut off by some Turk. Next went the spirit of my father, also Stepan, who did not take part in any war but died of measles at the age of forty. They all got the hell out of here. First, they went to Kyiv, led by my mother, Tamara Makarivna, in order to collect Uncle's family and me, their son. And their son, it turns out, has now come back to rob his own home (I didn't drive my war buddies away, did I?). It's a shame that I didn't know where the bathtub was, or whatever they bathed me in when I was small. It would have been good to walk through the ranks of anarchists with that basin and tell them all to spit into it.Remembering every room, I carried Alina upstairs to my mother's bedchamber. There was no longer furniture or pictures, only bare walls. The bed and mattress remained, but that was enough. Mother hated noise, so she set up her room far away from the running in the halls and the creaks on the stairs. I adjusted the mattress; in a gap, looking like a stalk of wheat, there lay a gold bracelet that she lost in the haste and that the thieves could not find in the mayhem. I tucked it into my pocket.The place could still be saved. It was strong, built under the leadership of my grandfather, who knew how to do it right. He built a sawmill, a gristmill, a dress factory (today it's probably been ransacked, maybe even by our own men).Alina had a complete, displaced break in her right fibula. We needed water first. I went downstairs—the guys were dragging out the piano like an old cow to the slaughter.“What are you doing with that?”“Taking it out.”“Why?”“What's it to you? We want to have fun.”“Can you play?”“We're not your bourgeois lily-handed bitches.”They couldn't play, but they were famous at destruction. “Noise is the music of the new time,” one of the smarter among them might have said. “But noise is the opposite of music. Just as a rose is the opposite of your ugly mugs,” I'd have responded if there was anyone to say it to. I could also have said that this was a Bosendorfer grand piano, that it was very valuable—but do the guys not deserve such a luxury?“Why are you so boring? We're relaxing.”“Then let me play a little first.”“Go ahead, but fast. One-two.”So I played. As before. My fingers ran up and down the black and white keys, which weren't simply keys of these, the simplest, colors. These were the keys that remembered my fingers specifically—achieved by that slovenly German Katerina, our governess. She knew a bundle of languages, could play the piano, and was interested in the latest scientific discoveries. But she had not an ounce of sympathy for anyone who couldn't master anything on the first try. More than once she hit my pinkie against the black key that remembered every one of its four thousand touches. She would pound it on the key and shout, “Si bémol! Si bémol,” and later bang my fingers and translate, “B flach! B flach!”I played. I could not expose myself, so the only thing I could do was believe in miracles. What if these coarse men saw value in this bit of furniture so unintelligible to them? And what if they didn't destroy it, this emblem of my childhood, my land, my air, which I could protect in no other way? My air. My water.“Shchedryk, shchedryk, shchedrivochka,” one of them who recognized the tune began to sing along.“Look at you.” They did not expect music from me, who had until recently been drinking blood like water.They said, “Again, again!”A group of curious men gathered around me. They were ordinary farmers, thieves, and recidivists, peasants and workers, everyone except for Skorsky. They needed this music as they needed baths. The music cleansed them from the inside, perhaps. They had not heard anything besides the whistle of a bullet, the neighing of a horse, or the knocking of a chisel and the whirring of a saw, amputating limbs, for a long time.But it could not go on long. I did not close the piano lid, just stood and went to fetch water for Alina, leaving the unfinished song for later. The well was to the north—that is, at the “Head.” My father once promised to give me a compass if I could learn to identify the ends of the earth by means of the sun. And to make it easier to remember, I gave each one of them a name: the east where the day begins was “Right” (my right hand), the west “Left,” the north “Head,” and the south “Feet.” Back when I could still do whatever I wanted all day long, I would wake in the morning and say: I'm going to the Feet. The mound was at the Feet, Left had the river, Right had the forest. It was only to the Head that I rarely went, because a village was located there. When the villagers saw me, they would speak in whispers and avoid the master's son.... I wiped her brow and her burning, sunken cheeks. I lay down next to her to feel the heat of her skin.When the fire in Alina calmed slightly, I went out into our orchard. My father had once been given a gift from Japan—a tulip tree that blossomed with yellow-green flowers. It had to have grown in the time that I was away. It would have been fatal had it been cut down. I again took the stairs down into the drawing room and came across nobody—they had all disappeared in search of food or were hidden away in their burrows. In the middle of the hall, like an opened rib cage, was the piano, irreparably shattered.B Flach! B Flach!Translation © Ali Kinsella 2022. (shrink)

New York may be most easily recognized by its trademark skyscrapers and brick tenement buildings, but the truth is that the city is actually teeming with luxurious roof gardens and private courtyard oases. Creative gardeners and architects have risen to meet the unique challenges of the urban landscape, designing spaces that celebrate the city while providing a restful escape. New York City Gardens presents New York’s evolving tradition of garden culture through images and discussions of thirty of its most outstanding (...) gardens, from world-famous botanical gardens to richly re-cultivated public urban spaces, luxurious penthouse terraces, and innovative art gardens without soil or plants. Many of the gardens are set against vistas of the quintessential New York—Central Park, the Empire State Building, skyscrapers of Midtown, and the sensational skyline of Lower Manhattan. Other gardens reveal surprising and exotic intimate retreats from the bustle of the city. While most were designed by noted landscape architects, including Dan Kiley, Hideo Sasaki, Ken Smith, and Halsted Wells, many others were created over decades by talented homeowners themselves. As more and more city dwellers in New York and beyond look to cultivate their own kitchen and container gardens and individual outdoor sanctuaries, this book provides hundreds of inspiring images as well as historical background and insight into the practical and imaginative solutions of city garden designers. (shrink)

Innovative forms of green urban architecture aim to combine food, production, and design to produce food on a larger scale in and on buildings in urban areas. It includes rooftop gardens, rooftop greenhouses, indoor farms, and other building-related forms. This study uses the framework of sustainability to understand the role of ZFarming in future urban food production and to review the major benefits and limitations. The results are based on an analysis of 96 documents published in accessible international resources. The (...) analysis shows that ZFarming has multiple functions and produces a range of non-food and non-market goods that may have positive impacts on the urban setting. It promises environmental benefits resulting from the saving and recycling of resources and reduced food miles. Social advantages include improving community food security, the provision of educational facilities, linking consumers to food production, and serving as a design inspiration. In economic terms it provides potential public benefits and commodity outputs. However, managing ZFarming faces several challenges. For some applications, the required technologies are known but have not been used or combined in that way before; others will need entirely new materials or cultivation techniques. Further critical aspects are the problem of high investment costs, exclusionary effects, and a lack of acceptance. In conclusion, ZFarming is seen as an outside-the-box solution which has some potential in generating win–win scenarios in cities. Nevertheless, ZFarming practices are not in and of themselves sustainable and need to be managed properly. (shrink)

In recent decades, urban agriculture has drawn practitioners seeking ways to increase both environmental sustainability and social equity in their cities. The practice has also drawn criticism for the ways it reproduces inequalities based on differences of class and race. In this paper, I argue contestations around urban agriculture are part of ongoing yet shifting processes of class formation intersecting with racial differentiation, in particular the emergence of green middle-class identity. Drawing on fourteen months of ethnographic fieldwork in a small (...) city in Michigan, USA, I examine urban agriculture as a historic spatial and aesthetic practice, drawing on examples of chicken-keeping, permaculture-style gardening, and concerns with neatness and blight. By positioning urban agriculture within historical narratives of landscape aesthetics and land use policy, I demonstrate how this practice becomes bound up in the ongoing production of class distinctions and inequalities. Throughout, I draw attention to how processes of class formation unfold in ways that diverge from, or are in excess of, local gardeners’ and agriculturalists’ intentions. In conclusion, I gesture to the ways the instability and dynamism of class formation via urban agriculture presents opportunities for addressing the reproduction of race- and class-based inequalities and for nurturing more equitable and sustainable forms of urban agriculture practice. (shrink)

In the last two decades, major cities in Malaysia have witnessed a spate of urban redevelopment including commercial and retail complexes, and residential estates. The current urban transformations taking place in Malaysian cities are mainly market-driven and characterized by fast-track development with a strong priority on the road infrastructure. This is a typical example of an intensive property-led development that is becoming a central driver of the national economy. This article provides a deeper understanding of the complexity of urban development (...) in Malaysia. Here, the major aim is to understand the Malaysian cities' transitions in the trajectory of their colonial past, national identity, multi-cultural community, culture, and religion. Focusing on South East Asian urbanism, this article determines how internal and external forces and global trends such as neoliberalism and property-led development affect the transformation of urban landscapes and expansions in Malaysia. The outcomes of this paper will indicate how much property-led development and globalisation have affected the traditional and tropical climate-responsive urban environment in Malaysia. It will also identify sustainable design and planning measures that should be implemented in the cities of Malaysia to combat the ill-effects of globalisation. (shrink)

To determine the role Latino community gardens play in community development, open space, and civic agriculture, we conducted interviews with 32 community gardeners from 20 gardens, and with staff from 11 community gardening support non-profit organizations and government agencies. We also conducted observations in the gardens, and reviewed documents written by the gardeners and staff from 13 support organizations and agencies. In addition to being sites for production of conventional and ethnic vegetables and herbs, the gardens host numerous social, educational, (...) and cultural events, including neighborhood and church gatherings, holiday parties, children’s activities, school tours, concerts, health fairs, and voter registration drives. In some cases, the gardens also serve to promote community activism. The primary concern of gardeners is to secure land tenure in the face of pressures to develop the garden sites for housing. The support organizations and agencies provide help with land tenure, as well as with advocacy, organization, and horticultural practices. Although the role of the Latino gardens in community development appears to be more important than their role in open space or agricultural production, the gardens can also be viewed as unique “participatory landscapes” that combine aspects of all three movements, as well as provide a connection between immigrants and their cultural heritage. (shrink)

With increased urbanization, ecological challenges such as climate change and loss of biodiversity, and stress-related disorders globally posing a major threat to public health and wellbeing, the development of efficient multiple-use strategies for urban green spaces and infrastructures is of great importance. In addition to benefits such as climate and water regulation, food production, and biodiversity conservation, green spaces and features have been associated with various health and wellbeing outcomes from a psychological perspective. Research suggests links between exposure to green (...) environmental qualities and restoration from psycho-physiological stress and attention fatigue, promotion of physical activity, increased neighborhood satisfaction and even reduced mortality. Especially strong associations have been observed in urban and socio-economically challenged areas. Usually such salutogenic, i.e. health-promoting, effects are explained through theories related to the notion of biophilia, i.e. the idea that humans share innate tendencies to attend to natural environments and features that have been beneficial during evolution. This paper assumes an ecological approach to perception and behavior to be fruitful in order to analyze the salutogenic potential of environments such as urban green spaces and to step beyond the “green vs. gray” dichotomy that has been prevalent through much of the research on health-promoting environments. Through an analysis of environmental affordances for certain perceived qualities such an approach is explored through a proposed concept for urban green space use and management, the edible forest garden. Such gardens, based on agroecological principles, have emerged as one of the most promising models regarding ecologically sustainable food production. In addition to potential contributions of importance for urban sustainability and biodiversity, we argue that the inclusion of edible forest gardens in urban green spaces – today globally dominated by lawns – also potentially could reinforce several affordances of salutogenic importance, both in terms of e.g. social cohesion but also in regard to restoration from psycho-physiological stress and attention fatigue. Increased opportunities for contact with nature and processes of food production may also reinforce pro-environmental behaviors in the population and thus also affect long-term sustainability. (shrink)

Urban agriculture (UA) is spreading within the Global North, largely for food production, ranging from household individual gardens to community gardens that boost neighborhood regeneration. Additionally, UA is also being integrated into buildings, such as urban rooftop farming (URF). Some URF experiences succeed in North America both as private and community initiatives. To date, little attention has been paid to how stakeholders perceive UA and URF in the Mediterranean or to the role of food production in these initiatives. This study (...) examines the promotion and inclusion of new forms of UA through the practice of URF and contributes to the nascent literature on the stakeholder and public perceptions of UA. It seeks to understand how those perceptions shape the development of new urban agriculture practices and projects. Barcelona (Spain) was used as a Mediterranean case study where UA and URF projects are growing in popularity. Through semi-structured interviews with 25 core stakeholders, we show that UA is largely perceived as a social activity rather than a food production initiative, because the planning of urban gardens in Barcelona was traditionally done to achieve leisure and other social goals. However, several stakeholders highlighted the potential to increase urban fertility through URF by occupying currently unused spaces. As a result, the positive valuation of URF depends on the conceptualization of UA as a social or food production activity. In turn, such conceptualization shapes barriers and opportunities for the development of URF. While most UA-related stakeholders (e.g., food co-ops, NGOs) preferred soil-based UA, newer stakeholders (e.g., architects) highlighted the economic, social and environmental opportunities of local and efficient food production through innovative URF. (shrink)

How to conjure up a picture, for instance, of a town without pigeons, without any trees or gardens, where you never hear the beat of wings or the rustle of leaves—a thoroughly negative place in short?Though now home to the majority of the world's human population, cities—indeed the politics of life itself—have always been multispecies endeavors. The quote above is Albert Camus's description of Oran, the fictional town that is the site of a devastating plague outbreak in his seminal work, (...) The Plague. It is meant to conjure a decidedly dystopian urban landscape due to its marked absence of nonhuman life. Such a scenario is precisely what the visionary artistic and literary movement Solar Punk seek to counter... (shrink)

THE CONGRESS The infrastructure of the colonial territories obeyed the logic of economic exploitation, territorial domain and commercial dynamics among others that left deep marks in the constructed landscape. The rationales applied to the decisions behind the construction of infrastructures varied according to the historical period, the political model of colonial administration and the international conjuncture. This congress seeks to bring to the knowledge of the scientific community the dynamics of occupation and transformation of colonial territory, especially related to and (...) resulting from the war effort, which involved not only the agency of architecture and urbanism but also of military apparatus, and its repercussions in the same territories as independent countries. Colonial infrastructures will be addressed to question, for instance, how housing production during armed conflict has conditioned future spatial models of the independent countries or what options taken by colonial administrations were abandoned or otherwise strengthened after independence. The congress is part of the ongoing research project entitled “ARCHWAR - Dominance and massviolence through Housing and Architecture during colonial wars. The Portuguese case (GuineaBissau, Angola, Mozambique): colonial documentation and post independence critical assessment” funded by ‘Fundação para a Ciência e Tecnologia’ (FCT - Foundation for Science and Technology), ref. PTDC/ART-DAQ/0592/2020, in which Calouste Gulbenkian Foundation (FCG) is a partner. The general goal of the congress is to debate on the repercussions of the decisions taken by the colonial states in the area of territorial infrastructures – in particular through the disciplines of architecture and urbanism – in post-independence spatial and urban models and the formation of independent countries with a colonial past. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Spirit of Settler Colonialism and the City Streets:A Response to Mishuana GoemanErin C. Tarveri want thank dr. goeman for her excellent paper and for introducing us to these extraordinary artists. Their work is beautiful and important, and I am grateful for the opportunity to witness it and think about it and to consider in particular in its relation to its setting in Los Angeles.In what follows, I want (...) to consider that setting—a city, as Dr. Goeman notes, containing some of "the most expensive real estate properties in the United States," commercial areas officially defined by "colonial encompassing property logics," and marked by "noise and [the] reverberation of mass consumerism" ("Caring for Landscapes 57). My interest will be in putting Dr. Goeman's analysis of these works and the Indigenous artist-activists who create them in dialogue with Jane Addams's diagnosis of the problems of early twentieth-century American urban life in her book The Spirit of Youth and the City Streets. I will suggest that Dr. Goeman's paper illuminates the limitations of Addams's approach to responding to the alienation of modern urban life—which, while rightly critical of the harms of mass consumer culture and the reduction of city life to economic productivity in conditions of industrialization, does not grapple with its own implication in settler colonialism and dispossession, and therefore cannot care for the land or its inhabitants as these artists invite us to do. I will also invite her to reflect on whether Addams's suggestion that play and recreation are essential components of urban human flourishing is borne out in the work of these artists.Jane Addams, in 1909, discussed the problems of urban life in post-Industrial Revolution Chicago in similar terms to those Dr. Goeman uses to describe the contemporary landscape of Los Angeles. The contemporary city, Addams writes, in forgoing spaces for public play, art, creativity, and non-production, has "entered upon a most difficult and dangerous experiment … at the very moment when the city has become distinctly industrial, [End Page 71] and daily labor is continually more monotonous and subdivided" (4–5). In this context, young people are increasingly alienated and isolated, valued solely for the products of their labor, and desperate for social connection. The playfulness and creativity of youth cannot be entirely stifled, yet without clear public spaces or institutions for outlets, young people become easy targets for capitalists who promise pleasure and self-actualization through consumption—of liquor, of fashion, of music, and so on. Lamenting the impoverished state that the city of mass consumption leaves us in, Addams writes:The spontaneous joy, the clamor for pleasure, the desire of the young people to appear finer and better and altogether more lovely than they really are, the idealization not only of each other but of the whole earth which they regard but as a theater for their noble exploits, the unworldly ambitions, the romantic hopes, the make-believe world in which they live, if properly utilized, what might they not do to make our sordid cities more beautiful, more companionable? And yet at the present moment every city is full of young people who are utterly bewildered and uninstructed in regard to the basic experience which must inevitably come to them, and which has varied, remote and indirect expressions.(15–16)There is, for Addams, a basic human need for play, creativity, and connection—to a community and to the natural world itself—whose unsatisfaction in a city devoted entirely to industry is nothing short of dehumanizing. So basic are these needs that they cry out for fulfillment in the most unexpected moments. She quotes a young man who describes his experience thusly:I never had a chance to go into the country when I was a kid, but I remember one day when I had to deliver a package way out on the west side, that I saw a flock of sheep in Douglas Park. I had never thought that a sheep could be anywhere but in a picture, and when I saw those big white spots on the green grass beginning to move and to turn into sheep, I... (shrink)

In the Global North, Urban Agriculture is being considered as a way to overcome malnutrition and promote local, ethical production. UA can be understood through two phenomena integral to the capitalist mode of production: capital centralisation and rent. Centralisation explains why capitalist agriculture industrialises, while rent provides a theoretical framework for understanding how social and spatial relations structure urban land uses. Urban farming can occupy niches of the capitalist marketplace; however, its prospects for replacing large-scale agriculture and providing similar use-values (...) are limited. Its expansion is bounded by rising land values expressed in rent, as Detroit’s urban farm, Markham’s food belt, Los Angeles’s community garden, and initiatives in other cities demonstrate. The key tasks for political ecologists are two-fold: situating UA within capital’s drive to accumulate and proposing strategic perspectives that challenge these inherent tendencies. (shrink)

When town planning emerged at the end of the 19th century, its proponents did not envisage the city without nature. Some, such as Ebenezer Howard, believed the garden city would become the new face of the urban landscape, bringing together only the positive aspects of both city and country. Others, health experts and rationalists, advocated functional planning, where the ‘green space’ was part of the overall plan. And so nature was not forgotten. But what ‘nature’? A ‘nature’ external to the (...) town-dweller, like an ornament or decoration? Something that enhanced the built environment and not the very condition of our existence as human beings? Behind the planners’ inclusion of ‘nature’ lie very different intentions, from one period to another and one culture to another. The globalized, standardized ‘nature’ that was subsequently part of marketing the city is just an image; whether wild or tamed, it is no longer localized, no longer a partner in our condition as denizens of the earth. Thierry Paquot examines these continuing processes of change. (shrink)

Food is becoming an increasingly important issue in the urban context. Urban food policies are a new phenomenon in Czechia, where urban food alternatives to the current food regime are promoted by food movements or take the form of traditional self-provisioning. This paper examines how urban food governance in Prague and Brno is constituted based on the municipalities’ relations with actors engaged in urban food alternatives. We argue that prioritizing aspects of local food system transformation compliant with the status quo (...) is non-systemic and implies a fragmentation of urban food alternatives based on different levels of social capital and radicality. We conceptualize urban food alternatives as values-based modes of production and consumption and focus on values that guide urban food governance in its participatory and territorial interplay with the actors of urban food alternatives. Our analysis reveals that the values underpinning the two cities’ progressive food policies do not match reality on the ground. We propose four types of relations between the two examined cities and aspects of the local food system transformation. Aspects compliant with the status quo, such as food waste reduction and community gardening are embraced, whereas those requiring more public intervention, such as public procurement, short supply chains, or the protection of cultivable land are disregarded, degraded, or, at most, subject to experimentation as part of biodiversity protection. Chances for a successful transformation of the local food system under such governance are low but can be increased by strengthening social capital and coalition work among urban food alternatives. (shrink)

What is the normative significance of school gardening for environmental activism and activists today? Philosophical treatments generally highlight gardening's importance for human well-being, aesthetic theory, and urban landscape design. Several accounts of John Dewey's educational philosophy draw attention to the school gardens tended by students at the University of Chicago's Experimental School. However, these typically neglect the social and political significance of Dewey's writings on school gardening. One way to bring the normative dimension of school gardening to the fore is (...) to compare Dewey's work on the topic with more recent scholarship on the politics of gardening movements. In this paper, the object of comparison is an essay by the Community Studies scholar Mary Beth Pudup. While Pudup's and Dewey's approaches are not identical, the comparison proves fruitful in so far as it exposes the political reasons for gardening education, relates school gardening to contemporary gardening movements and gives the call for creating more school garden projects greater normative force—or so I argue. (shrink)

In the 1930s and 1940s, as the United States moved from a rural to an urban nation, the pull of the city was irrepressible. It was so strong that even a photographic mission designed to record the essence of rural America could not help but capture the energy of urbanization too. To the City showcases over 100 photographs from the Farm Security Administration project along with extracts from the Works Progress Administration guidebooks and oral histories, to convey the detail and (...) dimensions of that transformation. This artfully grouped collection of photographs includes magnificent images by notable photographers Dorothea Lange, Walker Evans and Gordon Parks, among many others. Foulkes organizes this history of Americana into five themes: Intersection; Traffic; High Life and Low Life; The City in the Country; and Citizens to illuminate the changes in habits, landscapes, and aspirations that the march to cities encompassed. As the rural past holds symbolic sway and the suburb presents demographic force, the urban portion of our history—why and how cities have been a destination for hope—recedes from view. To the City is a thoughtful, engaging reminder. (shrink)

The experienced quality of urban environments has not traditionally been at the forefront of understanding how cities evolve through time. Within the humanistic tradition, the temporal dimension of cities has been dealt with through tracing urban or architectural histories or interpreting science-fiction scenarios, for example. However, attempts at understanding the relation between currently existing components of cities and planning based on them, towards the future, has not captured the experience of the temporal layers of cities to a satisfying degree. Contemporary (...) urban environments comprise both lasting and fairly stable elements as well as those that change continuously: change is an inevitable part of urban life. Different aspects of city life evolve with a different tempo: urban nature has its cycles, inhabitants their rhythms, and building materials and styles different lifespans, for example. Recognizing them becomes an especially important issue when future imaginaries are projected onto existing urban structures and when decisions about the details of urban futures are made. This paper aims at bringing environmental and urban aesthetics into the discussion about the possible directions of urban futures. The focus is on introducing the notion of aesthetic sustainability as a tool to better understand how urban futures unfold experientially and how aesthetic values of urban environments develop with time. This concept has some background in the field of design theory, more specifically in sustainable usage and product design, but it has not so far been used in order to study large scale living environments. The concept can prove to be a valuable supporting tool in urban sustainability transformations based on how it captures the experiential side of the physical and temporal dimensions of cities. (shrink)

In this book, as feminist, Marxist, postcolonial, and queer scholars, we argue that social reproduction is foundational to comprehending urbanization and urban transformations by contributing to the feminist project of writing social reproduction and everyday life into urban theory." Social reproduction is, of course, not just an analytical framing but also an organising call for feminist scholars and our contention is that if we want an urban theory for our time, it needs to be feminist. Feminism is not simply a (...) 'discipline,' 'theory', or 'ideology', but a worldview, a lived praxis that provides a platform for engaged analysis. The book's origins lie in our belief in the necessity of feminist urban knowledge production, a belief further endorsed by our prior critical engagement with the analytical framework of planetary urbanization and our collective ruminations during and post this engagement on the nature of urban theory (Reddy 2018; Ruddick et al. 2018). Not least the considerable response to the theme issue of Society and Space (Peake et al. 2018) showed us that there was an audience desirous of troubling the hegemony of urban theory. Moreover, our approach of working as a team across hierarchies of junior and senior scholars, generations, genders, sexualities, institutions, and disciplines-a praxis we refer to as "the intergenerational social reproductive labor of knowledge production" (Peake et al. 2018, p. 377)-had been fruitful and positive and we wanted it to continue. It was as much a pedagogical experience of reading and writing together, and sharing meals, as it was an exploration of our places within the academy and an intellectual foray into urban theory. And while Roza Tchoukaleyska left for Newfoundland, Elsa Koleth, a new post-doctoral fellow at the City Institute at York University, joined us. (shrink)

The rural/metropolitan/wilderness hybrid central to urban shrinkage directly challenges a commonly held belief that a city consists of a dense concentration of people living in a limited geographical area, one where the primary means of production is non-agricultural. In addition, the urban condition of shrinkage tests the dominant current of growth management that has guided urban design, development, and land use. In this essay we will explore how this hybrid presents an alternative to the production and realization of surplus value (...) that predominates throughout the contemporary landscape of neoliberal planetary urbanization. It will be argued that this process of urbanization is premised upon modalities of urban commoning, or practices that bring a variety of social and environmental struggles into relationship with each other, dismantling the apparatuses of capture that bring land-use and the collective energies animating available land under the control of capital. (shrink)

Prior to this intervention the site used to be a degraded fiscal property, that functioned as a bus yard, a police legal deposit, and a restaurant parking lot. Underneath it runs the Maldonado stream culvert, covered by a concrete slab at a depth of only -20cm. Next to the site is a 5m high railroad embankment. The plot is strategically located at the end of Juan B. Justo avenue and works as a gateway to the Tres de Febrero park (also (...) known as Bosques de Palermo, the Buenos Aires’s biggest green space designed by Charles Thays in 1875). It is situated in the neighborhood of Palermo, an area that underwent a vertiginous residential and commercial expansion since the late 90´s. -/- The design approach is influenced by the adjacent urban fragments: the grounds of the Sociedad Rural Argentina, the surrounding Avenues Santa Fe-Sarmiento; the opening of Darregueyra street expected for the near future, the implementation of historic preservation guidelines for the Tres de Febrero Park, and the proposal for the development of nearby railroad yards. -/- Specifically, the project seeks to minimize the impact of the fast traffic that runs along Bullrich avenue, improving pedestrian and cycle access to the park. At the same time it defines new landscape features, utilizing the earth made available by the tunneling works of a new subway line. -/- The project comprises the structuring of an existing 800 meter long embankment and the transformation of the sidewalk into a public promenade. This is achieved through a wider sidewalk of 12m on average, which is part of a series of longitudinal stripes ranging from high speed to quiet spaces. The first band of grass and aged tipas (tipuana tipu) buffer pedestrian and cyclist from automotive traffic. Cycle traffic is organized on its own lane. The sidewalk itself contains several bays that act as urban lounges. Next, a continuous concrete bench delimits the beginning of the slope, backed by a stripe of grass that works as a soft extension. Finally, plants for contemplation are arranged as undulating traces. Rhythmic use of retaining gabions defines longitudinal segments of varying slope, unifying the spacial criterion. This series is punctuated by an amphitheater and framed by triangular plazas at the corners. -/- Material choices for hard surfaces are constrained by concerns of durability, low cost, and consistency with other ongoing public works. -/- Hard materials, as well as the plant selection needed to be low-maintenance. The palette was kept to reinforced concrete, granitic slabs, and granite stone in large size –forming retaining gabions- and as loose finishing for pavements. Likewise, the lack of a protective enclosure and of continuous surveillance dictated that urban furniture and fixtures be anti-vandalic. The stealing of these components –from inspection lids, to benches, to plants- is a common problem in urban spaces in many Latin American cities. To prevent this, fixtures must be designed according to precise specifications regarding their weight, fixing and anchoring systems, and mechanical parts. -/- Sidewalks are organized through a 6 meter grid made of granitic white slab, infilled with textured combed nonslip concrete modules. Extended bays and corner squares are finished with white and black slabs respectively. These materials are similar to another used in public spaces under construction, in the believe that it creates a collective identification of themselves along the city. -/- The continuous reinforced concrete bench is 1.10 m wide, in order to allow people to use it in non-conventional ways. Further up on the slope, undulating paths separate plant species and provide access for gardening, but are also open to use by the public. They are paved with 2 meter-long precast concrete slabs (smaller and lighter pieces were avoided to deter robbery). As they reach the gabions they connect with sloping paths covered with loose granitic stones. The gabions themselves allow the creation of varying slopes while contributing to retaining the soil, which is reinforced with geosynthetic fabric in the perimeter to avoid landslides originated by strong rains typical of the region. -/- Urban furniture is featured on the wider bays of the sidewalk and at corner plazas. It includes seats, water fountains, bicycle racks, wastepaper baskets. As a counterpoint to the linear concrete bench, groups of concrete seats are arranged informally. These seats are a reinterpretation of the dynamic BKF chair (also known as Butterfly chair), the classic Argentinean design of the 1930’ by Antonio Bonet, Juan Kurchan, and Jorge Ferrari-Hardoy. A few low concrete tables complete these spaces as authentic urban lounges. Lighting design accompanies the general features of the project and creates a new scenography emphasizing night-time usage. -/- Landscape gardening criteria is set up by a selection of various species of high-resistant pasture (grass). The higher the slope, the higher the grass, increasing the final volumetric result. Based on considering the original tipas line (tipuana tipu, a species from the north of Argentina, yellow flowering) as a vertical wall that frames the view, the horizontal stripes contain a single species each, differing in size, shade and flowering periods –adding, in the middle band, a changing color on the big green plane slope in the same chromatic range. The final configuration of the stripe sequence from bottom to top: bermuda grass, bulbine frutescens, euryops pectinatus. The upper band existing native species is reinforced with new samples: paspalum exaltatum + cortadera selloana and ipomea + thumbergia climbing the railway fence. Each sector between gabions has an automated system of drip irrigation. Near the corner plazas, several palms are planted to provide shade and identity to the street-crossing. -/- The intervention proposes an ambivalent effect on the landscape, trascending the merely ornamental by accompanying the motorist in speed, while conforting the pedestrian with spaces for contemplation and urban relax. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Vexed Pharmacopeia: Musings on Two Thousand Years of Scholarship Regarding the Ancient Spice Trade ROGER MICHEL ALEXY KARENOWSKA GEORGE ALTSHULER MATTHEW COBB Alice went back to the table. She found a little bottle on it, and round the neck of the bottle was a paper label, with the words “DRINK ME” beautifully printed on it in large letters. It was all very well to say “Drink me,” but (...) the wise little Alice was not going to do that in a hurry. “No, I’ll look first,” she said, “and see whether it’s marked ‘poison’ or not.” However, the bottle was not marked “poison,” so Alice ventured to taste it, and finding it very nice, (it had, in fact, a sort of mixed flavour of cherry-tart, custard, pine-apple, roast turkey, toffee, and hot buttered toast), she very soon finished it off. “What a curious feeling!” said Alice. —Lewis Carroll, Alice’s Adventures in Wonderland (1865) যে ব্যামোর দেখবেন সাতান্ন রকমের ওষুধ, বুঝে নেবেন, সে ব্যামো ওষুধে সারে না।1 —Syed Mujtaba Ali, চাচা কাহিনী (1955) introduction Mankind’s fascination with spice dates back at least 8,000 years—both culinary and medicinal herbs are referenced in the Vedas, Hinduism’s oldest religious text. Spice is also peppered throughout the Old Testament.2 The Song of Solomon recites: “Thy plants are an orchard of pomegranates, with pleasant fruits; camphire, with spikearion 28.1 spring/summer 2020 2 a vexed pharmacopeia nard and saffron; calamus and cinnamon, with all trees of frankincense; myrrh and aloes, with all the chief spices.”3 Every one of these fruits, plants and spices remained popular in the West throughout antiquity, into the Middle Ages, and beyond. As early as 3000 bc, trade routes had connected the Mediterranean to the near east. Courtesy of this “Spice Road,” ancient Mediterranean civilizations had access to a wide range of horseradishes, mustards, peppers, gingers and other spices. The Greeks and Romans had a special relationship with black pepper—so much so that four out of five recipes in Apicius’s famous 1st century cookbook4 called for a sprinkling of this sometimes-costly commodity. It is perhaps not coincidental that black pepper contains heat-producing alkaloids very similar to those found in New World chili peppers. Much has been written about the important role of chilis in South and Central American culture—a region that, by the Middle Ages, was in many respects the equal of Europe in “artistic sensibility, social complexity, and political organization.”5 The habanero and its capsainoid cousins were at the heart of the culinary and ceremonial customs of Mesoamerica, their biting heat and florid livery an apt metaphor for the “extravagant feats of human butchery”6 —very much in the tradition of the spectacular venationes of ancient Rome—for which the Aztecs at least were well known. To what extent was hot spice also a significant part of the culinary, medical and cultural landscape of the Old World? At a conference hosted by the Institute for Digital Archaeology at the University of Oxford last December, experts from Europe and North America examined the literary, historical, archaeological and scientific evidence around these questions. Their inquiry received a boost from new and rapidly developing techniques for examining the physical evidence of ancient diet and food production—laboratory techniques not available even five years ago. There was also fresh medical evidence to consider: significant research is being done in the area of chemosensation in the context of spicy foods. This Roger Michel, Alexy Karenowska, George Altshuler, Matthew Cobb 3 includes trying to understand how different so-called “TRP channels” in the nervous system process spice information— in particular, the connection between spice and endorphin levels. It appears that many of the hot spices available in antiquity could potentially trigger the same TRP channels as the capsaicin-charged Mesoamerican peppers. This creates a nice connection between old and new world spice that helps to explain and contextualize both. However, in the end, firm conclusions at the Oxford conference were scarce. It quickly became clear that more work, a greater diversity of viewpoints, better refined questions, and a change of venue were required to make additional progress. To paraphrase William Boot, the accidental protagonist of Evelyn Waugh’s autobiographical Scoop (wherein events around... (shrink)

Historically, the dynamic between philosophy of artificial intelligence and its practical application has been essential for the development of both, and thus the encounter between theory of AI and architectural/urban theory should be a site of considerable productivity. However, in many ways, it is not. This is due to two primary factors, one arising from each side of this encounter. First, legacies of overly-anthropomorphic models of AI permeate design discourses, where issues of how well AI can be constrained to (...) social issues of philosophy of mind exclude more foundational and cross-cultural questions about artificial intelligence as material process in the physical world that could inform new philosophical insights. Concurrently, the mobilization of investment in “Smart Cities” discourses dominates the space of application of AI at urban scale in ways that prematurely fixes solutions in the skeuomorphic image of architectural and urban conventions. To break this impasse, we held a series of think-tanks, workshops, and design charettes that brought together leading figures in philosophy of artificial intelligence, urban design, and commercial AI platforms. The goal was to re-think from first principles how alternative philosophical models of AI as a distributed, discontinuous, landscape-scale technology in a direct encounter with the applications in contexts of ecological sensing, automation’s impact on urban form, and issues of algorithmic governance. The design brief for this research establishes a generative framework for conceiving how embedded machine sensing and intelligence is already changing urban form and could change it in the future. The framework focuses on issues of urban zoning and architectural programming, data modeling and governance, platform cognition and design, and how these inform shifts in dynamics of public and private institutions. (shrink)

In recent years, a growing discussion about how we should design our cities has emerged, particularly for the more controversial modes of design such as “defensive,” “hostile,” or “disciplinary” architecture (i.e., benches on which one cannot sleep, or metal studs on which one cannot skate). Although this debate is relatively mature, many studies have argued that these design notions are undertheorized and are, thus, challenging to study from an empirical and normative perspective. In this paper, I will defne the most (...) common terms used in the literature and show how they are interconnected by utilizing a set of “conditions of adequacy” from philosophy to facilitate a more transparent and well-grounded discussion of them. Terms such as “hostile” and “defensive” design are underlined by several diferent phenomena, not just one as is sometimes commonly assumed. I will also show that these phenomena and their conceptualizations require—and sometimes force us to use—diferent moral reasons when justifying the utilization of diferent designs. (shrink)

The environmental quality and subjective environmental evaluations in urban open spaces are essential. In this study, the effects of building, green, and water landscapes, which are typical visual landscapes, on the subjective environmental evaluations in different seasons were analyzed by conducting questionnaire surveys and field measurements in a severely cold city. It was found that the visual landscapes significantly affected subjective environmental evaluations in winter and summer, but there were no effects in the transitional season. In summer, compared with the (...) building and green landscape, the thermal sensation vote in the water landscape was the lowest at 0.4, and the differences were 0.3∼1.0. However, the thermal comfort vote in the water landscape was found to be 0.6 times higher. In winter, the thermal sensation and comfort votes in the water landscape were the lowest, the average evaluation under different UTCI was –2.2, and the results were similar for the overall comfort evaluation. In addition, the subjects believed that green and water landscapes improved thermal comfort and had more significant effects on improving the environmental temperature in the three seasons. Additionally, visual landscape evaluations significantly affect subjective environmental evaluations in summer than in the winter and transitional season; the higher the visual landscape evaluation, the better the thermal and overall comfort. (shrink)

Within the framework of a new interdisciplinary scientific scientific field – epistemological urbanism – the authors develop the idea of the human right to their city and show the epistemological nature of this right, which is explained by the fact that it is conditioned by the processes of cognition and scientific communication. Three main provisions are substantiated. Firstly, the city is an intelligent system. “The right to your city” is a specific right to scientific and intellectual production and consumption. Such (...) a right is not realized in every locality designated as a city, but only where there are conditions for intellectual dynamics – where art, education and science are developing. Secondly, the intellectual system of the city has autonomy. Each city has its own intellectual resource. Realizing the right to their city, citizens are involved in the activity of the city's scientific and intellectual autonomy. In other words, a city where there are opportunities to realize the “right to the city” generates an autonomous scientific school or a set of scientific schools. Thirdly, cities how research centers form a scientific network. Not a scientific consortium with common ideas and goals, but a network based on the principles of proliferation. The authors insist on the decentralization of science not for the purpose of its enclavization, but for the purpose of developing the potential, multi-vector and intellectual self-realization of urban communities themselves. It is shown that the development of science as a whole can be ensured by the heterogeneity of science itself : integration and differentiation give rise to an integration scientific and communicative process. (shrink)

Cities have consistently served as fertile grounds for the emergence and growth of radical ideas, political transformations, and social movements, with urban landscapes nurturing visionary concepts, idealism, and revolutionary ideologies. This research delves into the captivating world of radical cities, exploring the power of image and visual narratives to communicate and comprehend urban activism within diverse contexts. By analyzing various case studies and student works, we aim to create, study, and reimagine vivid portrayals of urban activism, radical urbanism, and future (...) socio-spatial developments. The focus lies on developing innovative visual modalities and collaborative critical pedagogical approaches that engage with the complexities of radical cities across North America, Latin America, Asia, Europe, and beyond. In this study, we explore the potential of image and visual narratives to decode and understand pivotal societal transitions in radical cities. By employing imaginative and critical pedagogy, we aspire to foster a more profound comprehension of urban activism and its impact on shaping the cities of the future. (shrink)

Sound and listening are intrinsically linked to how we experience and engage with places and communities. This guide invites landscape architects and urban designers to become soundscape architects and offers practical advice on sound and listening applicable to each stage of a design project: from reading the environment to intervening on it. This book foregrounds listening as an affective mediator between subjects and multispecies environments, and a vehicle to think and conceptualise environmental design beyond prevailing visual and human-centred modes. The (...) guide expands landscape architects' and urban designers' tools and skills to assess existing soundscapes, predict how those soundscapes will be altered through their designs, consider sound as a creative and active part of the design process, and envisage how users might perceive and be affected by those soundscapes as they evolve in time. The volume sits in the interface of research and practice, and incorporates theoretical, methodological and creative contributions from acoustic ecology, ecoacoustics, bioacoustics and sound art. Each of the design stages is illustrated through project examples that demonstrate the many advantages of incorporating attentive listening and sound into Landscape Architecture and Urban Design Practice. The book shows how incorporating listening and sounding as part of the design process promotes slow and subtle ways of practice, adds social and ecological value through the reduction of noise pollution and by monitoring the health of habitats, and enables the design of soundscapes that complement the character and design intent of a scheme and elicit joy and wonder. The book will be of interest to landscape architects, together with other design professionals such as urban designers, architects, geographers and engineers, who play a primary role in the composition of the soundscape. (shrink)

The free association method is often employed in marketing research to investigate perceptions of a particular product or brand in different socio-cultural groups of customers. In our research, international and domestic students produced free associations in response to photographs of outdoor billboards from two different locations in one city (city centre and outskirts). The results indicate that free associations can depict qualitative aspects of outdoor billboards like poor quality (relating to the categories of amateurish and fake), problematic content (relating to (...) female stereotypes, gender stereotypes and cultural differences), and that they have the potential to capture the general atmosphere of the neighbourhood (categories of decay, depression, danger and past). (shrink)

The venerable cities of the past, such as Venice or Amsterdam, convey a feeling of wholeness, an organic unity that surfaces in every detail, large and small, in restaurants, shops, public gardens, even in balconies and ornaments. But this sense of wholeness is lacking in modern urban design, with architects absorbed in problems of individual structures, and city planners preoccupied with local ordinances, it is almost impossible to achieve. In this groundbreaking volume, architect and planner Christopher Alexander presents a new (...) theory of urban design which attempts to recapture the process by which cities develop organically. To discover the kinds of laws needed to create a growing whole in a city, Alexander proposes here a preliminary set of seven rules which embody the process at a practical level and which are consistent with the day-to-day demands of urban development. He then puts these rules to the test, setting out with a number of his graduate students to simulate the urban redesign of a high-density part of San Francisco, initiating a project that encompassed some ninety different design problems, including warehouses, hotels, fishing piers, a music hall, and a public square. This extensive experiment is documented project by project, with detailed discussion of how each project satisfied the seven rules, accompanied by floorplans, elevations, street grids, axonometric diagrams and photographs of the scaled-down model which clearly illustrate the discussion. A New Theory of Urban Design provides an entirely new theoretical framework for the discussion of urban problems, one that goes far to remedy the defects which cities have today. (shrink)

Portland, Oregon enjoys a growing reputation as a beacon of urban sustainability. Its modern planning history has seen effectve efforts to curb urban sprawl and introduce a comprehensive mass transit system. More recently, the city has also become a hub for a “makers” movement involving a plethora of local, small-scale craft production. Within this context, Portland is also home to a thriving urban agriculture scene, featuring community gardens, community-assisted agriculture, farmers’ markets, food co-ops, and various farm-based education and outreach programs. (...) While recent case studies of Portland insist that the social sustainability case made for urban agriculture (UA) remains open, this position is arguably unwarranted and lacks an adequate grasp of the critical urban geography perspective developed in the work of David Harvey and Neil Smith. Following the lead of what Chiara Tornaghi calls “the critical geography of urban agriculture,” Portland’s urban agriculture should, on the whole, be seen as an adjunct to rather than a resistance movement against advanced neo­liberal urban governance. (shrink)

In the summer of 2017, wildflower seeds were spread on a large, empty open space close to a motorway flyover just outside Copenhagen, Denmark. This was an effort to use non-mechanical methods to prepare the soil for an ‘urban forest’ to be established on the site, since the flowers’ roots would penetrate the ground and enable the planned new trees to settle. As a result, the site was transformed into a gorgeous meadow, and all summer long Copenhageners were invited to (...) come and pick the flowers. In this article, I critically examine different aspects of this project – including the role of design, the perception of nature–culture relationships, climate change, and flower-picking as an event – in relation to my personal experience of visiting this meadow both on-site and on social media. The different temporalities that clash at the site give rise to conflicting interpretations, and I suggest that the meadow can be seen as a living plant archive of the Anthropocene, both physically and digitally. In doing so, I introduce and critique key conceptual pairs, including archive/death and bloom/decay, suggested by Lee Edelman’s queer cross-reading of Jacques Derrida’s ‘Archive Fever’ and Shakespeare’s Hamlet. I thereby contrast flower motifs pertaining to the cycles of blooming, decay, and nature’s (failed) eternal return in the meadow with the expansive futurity of the digitally mediated archive. (shrink)

The dualism of nature/culture widely present within Western society at large is out of step with an increasingly urbanising world. Building on previous discussions of nature/culture duality, an integrative framework is presented that argues for the embracing of the 'mundane nature' found within human landscapes. As over half of the human population interacts with nature primarily within urban landscapes, increasing our awareness of such spaces is critical to understanding our ecological consciousness. The examples of a recent rooftop greening bylaw in (...) the city of Toronto and the social impacts of urban gardening are examined in this context. (shrink)

Considering that the development of urbanization cannot be separated from the application of landscape pattern evolution, in order to improve the development level of ecocity, a modeling analysis of ecological urban landscape pattern evolution based on multisource remote sensing data is proposed. Taking ecotype city as the research object, the remote sensing images of ecological urban landscape pattern are screened by using multisource remote sensing data and nonremote sensing data as the basic data. CA-Markov model is constructed and the evolution (...) of ecological urban landscape pattern is analyzed. The experimental results show that, from 2005 to 2020, the development level of urbanization process is higher and higher and the area of building land patches is increasing, which reduces the fragmentation of building land patches. However, the landscape of cultivated land and green space is less and less, and the distribution of the patches also causes uneven phenomenon, which leads to the gradual decline of ecological urban landscape diversity. In the ecological urban landscape pattern, the degree of fragmentation and diversity of urban landscape is reduced due to the high connection and coverage of the construction land. (shrink)

In the cities of industrialized countries, the sudden keen interest in urban agriculture has resulted, inter alia, in the growth of the number and diversity of urban collective gardens. While the multifunctionality of collective gardens is well known, individual gardeners’ motivations have still not been thoroughly investigated. The aim of this article is to explore the role, for the gardeners, of the food function as one of the functions of gardens, and to establish whether and how this function is a (...) motivating factor for them. We draw on a set of data from semi-structured interviews with 39 gardeners in 12 collective gardens in Paris and Montreal, as well as from a survey on 98 gardeners and from field observations of the gardeners’ practices. In the first part we present the nature and diversity of garden produce, and the gardeners’ assessment thereof. In the second part we describe the seven other functions mentioned by the gardeners, which enables us to situate the food function in relation to them. We conclude that the food function is the most significant function of the gardens, and discuss the implications for practitioners and policy makers. (shrink)

Much of the developing world, including Kenya, is rapidly urbanizing. Rising food and fuel prices in recent years have put the food security of the urban poor in a precarious position. In cities worldwide, urban agriculture helps some poor people gain access to food, but urban agriculture is less common in densely populated slums that lack space. In the Kibera slums of Nairobi, Kenya, households have recently begun a new form of urban agriculture called sack gardening in which vegetables such (...) as kale and Swiss chard are planted into large sacks filled with topsoil. This paper examines relationships among sack gardening, social capital, and food security in Kibera. We used a mixed methods approach, combining qualitative interviews with a household survey, as well as focus group discussions with both farmers and non-farmers. We present evidence that sack gardening increases social capital, especially for those households that undertake sack gardening in groups. We also find that sack gardening in the Kibera slums has a positive impact on household food security by improving household dietary diversity and by reducing the need to resort to painful coping mechanisms that are used during food shortages. (shrink)

As the aesthetic of the Polish cities became a topic of wider discussions, it is important to detect the potential role of human-place relations. Two studies were conducted to explore the relationship between place attachment, place identity and appraisal of urban landscape. Satisfaction with urban aesthetic was predicted by two dimensions of place attachment, local identity and national-conservative identity. Place discovered and European identity were also predictors of visual pollution sensitivity. Place discovered is considered as more active type of attachment (...) that permits both a positive bias concerning the aesthetics of one’s city, and a stronger criticism of the elements that can potentially violate the place’s landscape. (shrink)

This paper presents an in-depth analysis and research on the spatial distribution pattern of the urban landscape in the Central Plains digital landscape form and proposes an optimization scheme. Based on the basic theories of systematics and complexity, this paper analyzes the self-similar characteristics of urban morphology, establishes the concept of schema, and constructs a multiscale and multilevel morphological map research framework by drawing on the “planar pattern” morphological analysis method of the school and the “matrix, patch, and corridor” spatial (...) expression model of landscape ecology. The framework of morphological map research at multiple scales has been established, and the theory and method of describing, understanding, judging, and analyzing morphological evolution have been formed. Cities have self-similarity at different scales, and urban evolution is a process of recursion from small-scale hierarchy to large-scale hierarchy, and hierarchy is a phenomenon presented by the natural evolution of cities. After any morphological process is completed, it can only be transformed into the other two ways, so the static morphological description can be transformed into dynamic morphological process analysis. (shrink)

In recent years, we have been observing an increasing significance of industrial heritage in international heritage studies. Developed in response to urban development needs, industrial heritage is now considered a valuable part of the city. Such an approach has resulted in the adaptive reuse of industrial heritage in the developing countries. This is, indeed, a practical solution for sustainable development of cities and the subject matter of many academic discussions. In this respect Heritage Impact Assessment (HIA) seems to be a (...) useful tool. This paper aims to study the role of HIA in adaptive reuse practice in industrial heritage sites in Iran. For that purpose, the authors have used a combined research method including historic study, analytical-description techniques and questionnaire-based interviews (with heritage managers and planners). The results indicate that HIA guidelines play a useful role in preserving the significance of historic cultural heritage and should be observed in the adaptive reuse practice in respect of the industrial heritage sites in Iran. Based on the analysed examples of successfully converted sites, this paper advocates using HIA as a useful tool in determining the potential of a given industrial heritage site for a successful reuse. (shrink)

In Dark City, people live in a city that is constantly in the dark. The city is in fact a laboratory constructed by a race of Strangers who live below the urban surface to do experiments aimed at discovering what makes human beings human. The Strangers will survive only by becoming like them. To find out what humanity is, but assuming it is essentially related to memory, every day they paralyze all human activity, extract memories from individuals, mix them, and (...) inject them back. When people wake up, they are totally different persons – but do not know it. This article examines how, starting with such a situation, Dark City explores the role of memory in personhood, the problem of authenticity, and the status of “false” memories in making the self, and how the connect to the experimental psychology and the neuroscience of memory. (shrink)

The study of landscape and place has become an increasingly fertile realm of inquiry in the humanities and social sciences. In this new book of essays, selected from presentations at the first annual meeting of the Society for Philosophy and Geography, scholars investigate the experiences and meanings that inscribe urban and suburban landscapes. Gary Backhaus and John Murungi bring philosophy and geography into a dialogue with a host of other disciplines to explore a fundamental dialectic: while our collective and personal (...) activity modifies the landscape, in turn, the landscape modifies human identities, and social and environmental relations. Whether proposing a peripatetic politics, conducting a sociological analysis of building security systems, or critically examining the formation of New York City's municipal parks, each essay sheds distinctive light on this fascinating and engaging aspect of contemporary environmental studies. (shrink)

The micro blogging platform Twitter is actively used by millions of people. By using the geo tags of the messages sent a virtual landscape of online activity at a certain place is generated to visualize the interface between the real-world location and the virtual activity. These New City Landscapes (NCL) visualize the amount of activity as density surfaces with hills, peaks and valleys. Across a set of different cities from around the world the resulting landscape morphologies are compared and characterized (...) as types. This article focuses on temporal narratives and how they travel through the urban fabric via the virtual landscape in different cities around the world. The findings are discussed as cross comparisons according to activity in time and space. (shrink)

This article draws the city into the limelight of social studies of technology. Considering that cities consist of a wide range of technologies, it is remarkable that cities as an object of research have so far have been relatively neglected in the field of technology studies. This article focuses on the role of obduracy in urban sociotechnical change, an issue that, it is argued, has considerable importance for both students of the cities and the daily practice of town planners and (...) architects, and, at the same time, forms an important theoretical debate in science, technology, and society studies. The article provides an overview of theoretical conceptions of obduracy in both technology studies and urban studies and proposes a heuristic model for the analysis of this phenomenon. In this way, this article aims to contribute to the establishment of a common interdisciplinary playground for these disciplines. (shrink)

In the United States, interest in urban agriculture has grown dramatically. While community gardens have sprouted across the landscape, home food gardens—arguably an ever-present, more durable form of urban agriculture—have been overlooked, understudied, and unsupported by government agencies, non-governmental organizations, and academics. In part a response to the invisibility of home gardens, this paper is a manifesto for their study in the Global North. It seeks to develop a multi-scalar and multidisciplinary research framework that acknowledges the garden’s social and ecological (...) or material dimensions. Given the lack of existing research, we draw on the more extensive literature on home gardens in the South and community gardens in the North to develop a set of hypotheses about the social-ecological effects of urban home food gardens in the North. These gardens, we hypothesize, contribute to food security, community development, cultural reproduction, and resilience at multiple scales; conserve agrobiodiversity; and support urban biodiversity. They may also have negative ecological effects, such as stormwater nutrient loading. Because of the entanglement of the social and the ecological or material in the garden, we review three theoretical perspectives—social ecological systems theory, actor-network theory, and assemblage theory—that have been or could be applied to the multi-scalar and multidisciplinary study of the garden. We also review sampling and analytic methods for conducting home garden research. The paper concludes with a discussion of opportunities to extend the research agenda beyond descriptive analysis, the primary focus of garden research to date. (shrink)

The Aesthetics of Human Environments is a companion volume to Carlson's and Berleant's The Aesthetics of Natural Environments. Whereas the earlier collection focused on the aesthetic appreciation of nature, The Aesthetics of Human Environments investigates philosophical and aesthetics issues that arise from our engagement with human environments ranging from rural landscapes to urban cityscapes. Our experience of public spaces such as shopping centers, theme parks, and gardens as well as the impact of our personal living spaces on the routine activities (...) of our everyday life are discussed in terms of their aesthetic value and the nature of our aesthetic appreciation. This volume will appeal to any reader concerned about the aesthetic quality of the world in which we live. (shrink)

The emergence of urban tech economies calls attention to the multidimensional spatiality of ecosystems made up of people and organizations that produce new digital technology. Since the economic crisis of 2008, city governments have aggressively pursued economic growth by nurturing these ecosystems. Elected officials create public-private-nonprofit partnerships to build an “innovation complex” of discursive, organizational, and geographical spaces; they aim not only to jump-start economic growth but to remake the city for a new modernity. But it is difficult to insert (...) tech production space into the complicated urban matrix. Embedded industries and social communities want protection from expanding tech companies and the real estate developers who build for them. City council members, state legislators, and community organizations oppose the city government’s attempts to satisfy Big Tech companies. While the city’s density magnifies conflicts of interest over land-use and labor issues, the covid-19 pandemic raises serious questions about the city’s ability to both oppose Big Tech and keep creating tech jobs. (shrink)

From the sumptuous lakeshore to the inner city, these images capture the light, color, and mood of our public spaces throughout the changing seasons. Frederick Law Olmsted's and Jens Jensen's vision of a 'garden in a city' is reflected within the pages of this book. The images at once subtly incorporate and contrast the natural landscape within the urban landscape. The Prairie-style architecture that is found in many of Chicago's parks is both a reflection of the natural prairie and a (...) reminder of the concrete urban landscape within which the parks are located. These full-color photographs of Chicago's well-known and lesser-visited parks make a perfect gift for those who enjoy outdoor spaces or gardens, or for those who fondly remember the parks of their Chicago youth. The totality of these images is an eloquent visual portrait of the origins of our bold and proud city from the vast wilderness of the mid-western prairie. Frank Dina has brought about an impressive re-discovery and re-affirmation of these islands of peace, beauty, and tranquillity amidst the bustle and dynamism that is Chicago. (shrink)

The 2023 edition of the Venice Architecture Biennial Time Space Existence will draw attention to the emerging expressions of sustainability in their numerous forms, ranging from a focus on the environment and urban landscape to the unfolding conversations on innovation, reuse, community, and inclusion. In response to climate change, exhibited projects will investigate new technologies and construction methods that reduce energy consumption through circular design and develop innovative, organic, and recycled building materials. Participants will also address social justice by presenting (...) living solutions envisioned for displaced communities and minorities, while others will examine the tensions between the built urban environment and the nature surrounding it, identifying opportunities for coexistence. Time Space Existence not only aims to be a display but also a living workshop where established and emerging practitioners can work together and present their own visions of the status of architecture and the built environment nowadays. By bringing together ideas from across the world, the exhibition presents itself as a platform for exchange and experimentation and strives to stimulate an engaging dialogue that is inclusive of all voices. (shrink)

_Toward an Architecture of Enjoyment_ is the first publication in any language of the only book devoted to architecture by Henri Lefebvre. Written in 1973 but only recently discovered in a private archive, this work extends Lefebvre’s influential theory of urban space to the question of architecture. Taking the practices and perspective of habitation as his starting place, Lefebvre redefines architecture as a mode of imagination rather than a specialized process or a collection of monuments. He calls for an architecture (...) of jouissance—of pleasure or enjoyment—centered on the body and its rhythms and based on the possibilities of the senses. Examining architectural examples from the Renaissance to the postwar period, Lefebvre investigates the bodily pleasures of moving in and around buildings and monuments, urban spaces, and gardens and landscapes. He argues that areas dedicated to enjoyment, sensuality, and desire are important sites for a society passing beyond industrial modernization. Lefebvre’s theories on space and urbanization fundamentally reshaped the way we understand cities. _Toward an Architecture of Enjoyment_ promises a similar impact on how we think about, and live within, architecture. (shrink)

Human geography, as a subject, has become widely recognized since its connections with the social sciences have widened and deepended the study of people, places and social structures. Horizons in Human Geography provides a clear and accessible sketch map of some of the latest and most promising developments in the subject. The book starts by assessing the role and limitations of techniques, models and theories and proceeds to provide a broad-ranging overview of the major social, cultural, urban, regional, political, economic (...) and environmental issues confronting geographers today. Contents: Introduction; Part I: Beyond The Quantitative Revolution; Part II: People and Places, Societies and Spaces; Part III: Explorations in the City; IV: Landscapes of Production; Part V: Regional Geographies and Global Perspectives; Part VI: Politicising The Environment. Contributors: Derek Gregory, Rex Walford, Michael J. Clark, Alan Wilson, R. J. Johnston, John Eyles, Denis Cosgrove, Linda McDowell, Roger Lee, Keith Bassett, John Short, Richard Dennis, Ian Douglas, Doreen Massey, Richard Meegan, John Harriss, Barbara Hariss, Nigel Thrift, Michael Taylor, Peter Taylor, Graham E. Smith, Stuart Cobridge, Judith Rees, Timothy O'Riordan and Bill Mead. (shrink)