A Bladerunner future? Art reflects life

The cyberpunk architecture of downtown Shibuya, Tokyo - photo guwashi

by Gregory Saville

Last week the sci-fi film Bladerunner 2049 opened worldwide to rave reviews. In artistic circles, this is known as exceptional neo-noir filmmaking, or more accurately 80s style cyberpunk. Bladerunner 2049 follows the original Bladerunner film from 1982, now considered a masterpiece. It is based on a book by award-winning sci-fi writer, the late Philip K. Dick.

Dick’s themes included dystopian futures, authoritarian corporations, and government conspiracies. Bladerunner occurs on a future Earth poisoned from environmental collapse where cops (Bladerunners) are assigned as bounty hunters to search and eliminate a minority group of human-like androids called Replicants. Written 50 years ago, Dick’s tale foreshadows the environmental crisis, immigrant-purging, social turbulence, and police violence on our streets today. In short, he nailed it!

ART REFLECTS LIFE

For evidence, take a look at the street architecture of the future Los Angeles in Bladerunner and compare that with what is emerging in our biggest cities. Art, clearly, reflects life!

The neo-noir electrification of New York's Times Square - photo DB Desktop Background

Very seldom are artistic and cultural movements restricted to galleries and magazines. Even the most outrageous art and music seep out into politics, daily life and, most importantly, ways of thinking. That is because artistic and cultural movements do not arise on their own; they are a reaction to - or against - current affairs. That is why they are a barometer of things to come.

Consider how 1960s counter-culture morphed into environmentalism, civil rights, and equality for women, concepts in common parlance today. Or consider the artistic movement called modernism in the early 20th Century that evolved into the International Congress of Modern Architecture and the global planning disaster we now call urban sprawl.

Pruitt-Igoe, the 1960s modernist housing disaster in St. Louis became a rallying cry by
Oscar Newman and Jane Jacobs against crime and modernism in urban planning
- photo US Geological Survey

Bladerunner is art that tells a story: Philip K. Dick’s cyberpunk story of urban dystopia! For real-life examples look carefully at the cores of our most modern cities to see the worship of architectural cyberpunk.

If this analogy holds, then what about last week’s horrific mass murder in Las Vegas, the on-going trouble with police shootings, political turbulence, and environmental disasters of late? Are they signals that the Bladerunner story is unfolding as predicted? Never has there been a more appropriate time for a better model of neighborhood safety and urban growth.

Dundas Square, cyberpunk in Toronto
- photo by Pedro Szekely CC by 2.0 via Wikimedia Commons

Modernist message from a master architect

Beautiful places and streets attract people. They put eyes on the street, a basic principle of urban safety. I was recently reminded of a master architect of beauty, the award-winning Arthur Erickson, an architect the New York Times called Canada's pre-eminent Modernist architect.

While in Vancouver this week I spent time with Erickson's closest colleagues and friends, an impressive group who just like Erickson were concerned about both social equity and aesthetic beauty.

Modernism has not always had a good rap. Arguably, CPTED would not exist if not for the modernist planning and architecture that Jane Jacobs so bitterly attacked. Inappropriately applied modernism led to the demolition of the Pruitt-Igoe social housing in 1960s St. Louis, the project dubbed indefensible and crime-ridden in Oscar Newman's Defensible Space.

Arthur Erickson showed another way; modernism done right! An example of his work appeared here previously regarding Vancouver's Robson Square.

The first Erickson building I ever entered was the Canadian Pavilion at the Expo 67 fair in Montreal in 1967, a kind of inverted pyramid. At the time I had no idea about architectural modernism. It just looked cool.

Later I studied at the Erickson inspired Simon Fraser University atop Burnaby Mountain in Greater Vancouver, a kind of spaceship in the sky. It too was very cool and futuristic - a fact not lost on film directors who have filmed there (BattleStar Gallactica, The Day the Earth Stood Still, Underworld Awakening).

Erickson taught it is the work quality, not the theory, that matters most in constructing beautiful places. The problem arises when modernism is done badly and applied inappropriately. This is the case in  Pruitt-Igoe, Chicago's Cabrini-Green, Toronto's Jane/Finch, and the Chichy suburbs of Paris. Unsurprisingly, crime festers in such places.

The takeaway? Build sensitively and in social context. Don't throw the baby out with the bathwater. Yet too many new architectural forms do the latter and too few architects do the former.

In Erickson's own words:

"…the reaction to the bareness of ill conceived modernist buildings was to revert in the 80's to a revival of historicism in the guise of "post-modernism"… That Dark Age is thankfully over but cultural insecurity is always there, hidden in the basement of our psyches - ready to spring out whenever brave confidence falters. 

It lingers in the gated communities where make-believe has become an adult panacea. It lingers with the developers who promote kitsch because it sells.  It lingers with the newly rich and the establishment who need to consolidate social standing with class accepted standards. It lingers in every shopping centre, multiplex, restaurant, Vegas casino where illusion is needed to disguise the emptiness within." 

- Arthur Erickson,  2000

CPTED, Brasilia, and Pruitt-Igoe - A lesson worth learning

Brazil's capital city, Brasilia. An icon to modernist architecture (photo by UNESCO)

There is a great article in the latest issue of The Atlantic, Brasilia - A Vision of Concrete. It reminded me of a story years ago from my planning classes on modernism.

At 3pm, March 16, 1972, CPTED was born in the death of architectural modernism. That's the date of the first explosion to demolish the Pruitt-Igoe public housing projects in St. Louis. Built in the finest traditions of modernist theory, Pruitt-Igoe soon decayed into a crime-ridden ghetto and festered for years with low vacancy. Demolition was the final epitath for a concept ill-suited to social housing.

Those explosions began less than a year after C. Ray Jeffery's book CPTED and the same year of Oscar Newman's book, Defensible Space. It was Newman who described the social damage to livability from Pruitt-Igoe’s bleak modernist buildings, acres of no-man's land and blight. It’s a story of how not-to-do planning.

Except not everyone listened.

Almost decade after Pruitt-Igoe started, another modernist architect planned the city of Brasilia, Brazil. Controversial from the beginning, Brasilia stands today an icon to modernist architecture and rational planning.

While the Atlantic article caresses the architecture of Brasilia, it brutalizes it's planning. "The city is quite correctly regarded as a colossally wrong turn in urban planning." And now, in time for Brazil's World Cup in 2014 and the Rio Olympics in 2016, it's due for a make-over.



It's hard to say whether crime in Brasilia arises from the modernist nightmare that infected Pruitt-Igoe, from Brazil's epidemic gang violence, from 9 million unregistered firearms, or something else. It was probably all the above.

But if we've learned anything from Pruitt-Igoe surely we’ve learned SafeGrowth-style organic neighborhood design and collaborative planning is integral to safer streets!