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Friday, July 15, 2005


ANDRES DUANY, NEW URBANISM, ARCHITECTURE, MUSIC, & CONSCIOUSNESS
I really enjoy this interview with one of the founders of the architechtural movement known as New Urbanism. It is a movement that is people/community-driven, context-driven, and ecologically-driven. Read more about its philosophy here. Its co-founder, Mr Duany, offered some very good insights in this interview. Some kosmic kwotes:
(1) I do believe there’s one aspect to modernism that is useful, though, and that is the fact that it’s critical of existing conditions. Modernism isn’t content with things as they are. Unfortunately, it’s an alienated criticism, full of distance and emotional separation —in contrast to earlier movements that aimed for constructive change. Where older varieties of reformism wanted to take what exists and try to improve it, modernism just wants to throw away the past—lock, stock, and barrel.

(2) The avant-garde has built and built and built on the idea of the alienated artist. If you engage the reality of what people truly need in a building, you’ve “sold out.” If you haven’t fought bitterly with your client, you’ve failed as an architect. This is inscribed in the minds of students by academics who very often are themselves failures as practitioners. That’s a nice game, except what’s happened is that, as this has overtaken all the schools, the best architectural talent has been removed from action.

(3) [N]eo-traditionalism is more than just an attempt to revive something that has lapsed. It’s a juncture between the new and the traditional.

(4) There are some people who want to live downtown where the action is. They wanna live in a loft. Others like row houses. Others need single-family houses. Yet others seek space in the country. I insist that all of these should be available.

One problem is that fanatics like the rabid environmentalists only recognize one or two of these options as legitimate. Environmentalists want to green everything. Environmental law at this moment prevents the construction of authentic urbanism. You couldn’t build any great traditional city today if you apply the environmental laws on open space, separate uses, and so forth. One of the things I’m trying to do is to get environmentalists to accept that Americans have a right to the full range of habitats, from country living to high-density urbanism, and that the laws must be different in every type of environment. But environmentalists are so arrogant they won’t even engage in this conversation.

(5) There are two interpretations of nature. One places humanity apart from nature. The other says that humans are part of the natural order. Environmentalists favor the first definition, and that’s the source of many problems. I believe humans have rights to habitats that are paved over. Humans have rights to places like London and New York.

Because most humans like to live in relatively high density, they actually end up leaving most of nature alone. Not because some regulator forbids people from building a house where they want—preventing people from going where they want will never hold in a free society. Mandated urban boundaries will never hold, because Americans have rights, including a right to the pursuit of happiness. It’s actually market drive—wanting to live near services instead of in the woods—that brings people to cities. Since Americans have a right to live wherever they please, if we want to keep them out of the wheat fields we’re going to have to make cities so attractive that people don’t want to leave.

In any case, contrary to environmentalist claims and common perceptions, America is not running out of land. You could give every single American household one full acre of land, and it would only consume 4 percent of the acreage in the continental U.S. Four percent. And that doesn’t include Alaska.
I like the ideas (and results) of New Urbanism because it is a comprehensive, multi-disciplinary approach to urban planning that is an expansion upon the basic tenets of the American architecture tradition of Frank Lloyd Wright and his Prairie School, also highly ecologically-based.

As a composer, I am deeply inspired by architecture and perceive many sympathies with the field, because both architecture and traditional music composition deal in blueprints, complex grammar, ornaments, and unfolding structures. Buildings of any kind are extensions of the human body's need for heat-regulation and basic protection. Music compositions are extensions of the human body's capacity to detect primal patterns within sound for the purposes of food-gathering and community-building. In both cases, composition and architecture are variations on 'survival consciousness', extended into material object of form, shape, and texture.

Architecture is frozen music, sayeth Goethe; that also means that music is boiling architecture. Yet the deeper conclusion is this: architecture and music are both forms of consciousness, just a different levels of density. And each begin as intuition, midwifed by an artist with the courage to follow its subtle call.
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