Cities. Skylines Icon UPDATED
Cities. Skylines Icon
All of which brings us to Sklairs version of the City, conceived of as a virtual model and embodied in a computer program, cities.skylines. The program re-computes the virtual cities at different points in time, allowing one to see how things have changed over time. Aspects of the program allow the user to project his or her idealized version of the future, like trying to see a modern-day Paris.
Sixty years after Sklair published Cities.Skylines, the downtown of your hometown is a lot more likely to be clad in towering glass and steel than by brick, as many of the old buildings in New York went under the wrecking ball during the urban renewal of the 1960s. Such towers are more convenient but also more costly to construct. Sklair, who is a professor in the Department of Urban Studies and Planning at the Pratt Institute, calls for more humane buildings, and asks why we put them in spaces designed for the car, like city streets. This book is the result of his own attempt to answer that question.
City Hall might be New York Citys most famous landmark, but what makes it iconic is its association with city government, the site of many controversies. The “Point”, as it is popularly known, is one of the citys oldest structures, dating to a period before the Erie Canal and the citys public transportation system, and the LeRoy and Adolph Dowd Building is the citys tallest building. Its steeple is its only recognizable feature and it is capped by a copper gilt statue of liberty to make up for the lack of vertical separation.
I would have the book be a little more careful with its use of the term “iconic”. It cannot be this icon, that icon, but only this or that icon. The term may have something to do with the naming of the book, which quite naturally would exclude Berlin, London and countless other cities. (That icons seem to owe their existence to a particular artist rather than to the citys history is a plausible but unfortunate conceit.) In fact, many symbols of the citys past have become iconographic, and many images created by cultural artifacts. So, for instance, it was the popularity of King Tut that really brought the surviving relics of ancient Egypt to the forefront, and the walls at Mottahedeh, a 14th century caravanserai in Isfahan, is very much an image of the citys distant past.
sklairs book is in the same tradition as books by leys and hollins. he argues that the icon represents a society or class that has little or no interest in critical thinking. for example, the design of icons such as the o2 or the shard places a huge premium on celebrity. and although sklair is not interested in criticising celebrity, he does argue, rightly in my view, that the o2 and the shard (both in london) and even the shard in shanghai are all built on the backs of their billionaires. with the exception of batllas mall, and a few short sections of the petronas towers, the likes of the o2 and the shard all look the same. they are badly designed and they dont really offer anything in terms of civic function. but they are profitable, not in terms of what they produce or in terms of the everyday lives that they are built into, but in terms of how they are owned and managed. they are examples of the kind of pure capitalist commodity that emphasises the role of money in architecture and urban design, rather than ideas, and the role of money in the public realm in general. for sklair, iconic buildings are part of a capitalist city-building project involving not just individual buildings but whole streets and districts, and a cultural whole, which has been successful because it is able to draw on a range of different narratives, motifs and materials. yet the project also involves producing cognitive confusion, undermining critical thought. sklair refers to this as the commodity form (a point to which many architectural critics have returned in the last ten years), arguing that it is one based upon compromise and inclusiveness. the language of compromise is the entire point of the tcc, or an absolutist position that the future and political future lies in moderation would be incorrect. its language is inclusive, at least if you accept the argument that whatever the facts of the matter, the implications of a particular theory are somehow removed from other views. the language of inclusive compromises is given as: knowledge is collective, is socially constructed, and is the product of rational calculation (see the culture industry, for example). 5ec8ef588b
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