Allison Alrieff, The New York Times, 20 October 2017
“The Arsenal of Exclusion and Inclusion,” a forthcoming book by Tobias Armborst, Daniel D’Oca and Georgeen Theodore, who lead the architecture, planning and research collective Interboro, refers to such things — which include cul-de-sacs, cold water, “No Loitering” signs, the Fair Housing Act — as “weapons.” They are the policies, practices and physical artifacts used by planners, policy makers, developers, real estate brokers, community activists and others to draw, redraw or erase the lines that divide us.
Allison Arieff is the Editorial Director at SPUR and is a columnist for the New York Times.
For Allison Arieff’s twitter feed click here, for her New York Time option piece ‘Automated Vehicles Can’t Save Cities’ click here, and for a New York Times panel discussion on Tactical Urbanism where she was the moderator click here.
For Interboro’s Arsenal of Exclusion and Inclusion click here.
Every device I own today is vastly more efficient than it’s 1970s equivalent, yet my energy use, along with the country’s and the world’s has soared. That’s because we almost always reinvest efficiency gains in additional consumption. The better we get at doing things the more things we do. That’s The Conundrum.
Under the seeming disorder of the old city, wherever the old city is working successfully, is a marvelous order for maintaining the safety of the streets and the freedom of the city. It is a complex order. Its essence is intricacy of sidewalk use, bringing with it a constant succession of eyes. This order is all composed of movement and change, and although it is life, not art, we may fancifully call it the art form of the city and liken it to the dance — not to a simple-minded precision dance with everyone kicking up at the same time, twirling in unison and bowing off en masse, but to an intricate ballet in which the individual dancers and ensembles all have distinctive parts which miraculously reinforce each other and compose an orderly whole. The ballet of the good city sidewalk never repeats itself from place to place, and in any once place is always replete with new improvisations.