#the100dayproject

Day 100 of #100DayProject: Last step before jump.

DSC05897 This is the last day, before the final edition and the publication. I hope with all my heart you had enjoy this book, at least I did in the major part of the process. Certainly, there was periods of time which I hate this project, especially because I haven’t any support from none except my boyfriend. He was the only one who believes in this project and me, he always believes in my professional and personal skills.

If you ask to anyone who takes seriously the challenge to writing a book, the most of them have two problems:

  1. Time, time, time. Always we find distractions in our daily schedule, avoiding the difficulty of sitting in front the desk and creates.
  2. (Auto) Critics. Most days I had some voices in my mind telling me: “leave the project, you don’t have any editor or publisher who have interest in your book”; “who want read your book, is not professional or an adolescent vampire novel, who cares about your interests…”; “who’s gone buy your book anyway? If it’s a personal experience and you’re an anonymous person, you’re not Beyoncé

When I felt down an uninspired I tried to give me cheers up with happy music, travels to the beach and feel the motives of this books: I tried to surround me with landscapes, arts and discovering my true identity. Thankfully, the Universe conspires all the time to follow my dreams, so I know the people, the circumstances and situations who especially needed in this project. As Karl Marx said once:

“Men can see nothing around them that is not their own image; everything speaks to them of themselves.

Their very landscape is alive.”

Karl Marx

Other part of the process was the meditation, comprehension, acceptation and travel. As Miguel de Unamuno said once:

Fascism is cured by reading,

Racism is cured traveling

Miguel de Unamuno

Travel is the best way to know the cities and their different facets. Definitely, travel into cities and countries is the best school of urbanism ever. Talking with other people who thinks different from you is the best school of tolerance. Of course, I tried to show in this book the places that I visited in my short life (27 years old).

This is not a professional book. I don’t want to think that I was in the same library that Thomas Picketty or Heidegger. Nope. This book is created and taken from personal experiences and complements with extracts and opinions from researchers.

Definitely, reading was an important part of the process of writing a book. When I read books, I felt more in company from every author who was in the same synchronicity of myself. Feeling the same way, and don’t matter the time who passed between them and me. I don’t feel alone when I read.

I read a lot of books without discrimination. That helps me to open my mind and see beyond the cover, scooping in my mind and my soul. Believing with this book I could help other to follows their dreams and change the strong beliefs about urban planning and landscape analysis.

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Day 94 #100dayproject: Future Cities, Past Cities.

esri1

Last year I tried with my all heart and head to learn an urban planning/design software called “ESRI CityEengine” with video tutorials, books and everything else. With the pass of the time I learned the basic commands, and even I design my very own city based on a model that the software proposed me. The facility of our generation to make a process of urban design is incredible: fast and visually incredible, even our predecessors had been jealous of that.

Lewis Mumford deeps into the current thinking about the new urbanism, this utopianism has a presence at a metropolitan and regional scale. Many residues of it can be detected in the landscape of capitalism (garden cities, suburbs, and access to recreational areas as well as movements for clean air, clean water and adequate sewage disposal in metropolitan regions).[1] Although the Situationalists questioned the spectacle city of consumption as early as the 1950s-60s[2], they could not have predicted the scale of permanent spectacle and commodification in 21st century cities[3][4].

That makes me think in the responsibility of urban designers in the representation of the dreams of many actors: citizens, government, entrepreneurs, enterprises, corporations, NGO’s, etc. Can we design the future? Maybe Jules Verne has the answer.

In 1863, Jules Verne had written a novel called Paris in the Twentieth Century[5], about a young man who lives in a world of glass skyscrapers, high-speed trains, gas-powered automobiles, calculators, and a worldwide communications networks, yet cannot happiness and who comes to a tragic end.

The argument of Verne reminds me a lot the German film Metropolis (1927), written by Fritz Lang and Thea von Harbou. The movie is set in a futuristic urban dystopia, and follows the attempts of Freder, the wealthy son of the city’s ruler; and Maria, a poor factory worker, to overcome the vast gulf separating the classes of their city. The idea came to the director when he visited for the first time New York in 1924[6]:

I looked into the streets, the glaring lights and the tall buildings, and there I conceived Metropolis. The buildings seemed to be a vertical sail, scintillating and very light, a luxurious backdrop, suspended in the dark sky to dazzle, distract and hypnotize.

Fritz Lang

Their works seems like the work of urban planners; they predict the future of the city: their flows, they transportation systems, their houses, their colleges and industrial streets. If they can see the future, which future will be designed?


[1] Harvey, D. (2000). Megacities. Lecture 4 (p. 124). Amersfoort, Netherlands: Twynstra Gudde Management Consultants.

[2] Sadler, Simon (1999) the Situationist City. Cambridge: The MIT Press.

[3] Harvey, David (2000) Spaces of Hope. Berkeley: University of California Press.

[4] Armstrong, H. (2006). Post-Urban / Suburban Landscapes: Design and Planning the Centre, Edge and In-Between (pp. 1–15). Centre for Cultural Research, University of Western Sydney. Sydney, Australia.

[5] www.wikipedia.org/Paris_in_the_Twentieth_Century

[6] Fritz Lang, Barry Keith Grant. 2003. Fritz Lang Interviews. Mississipi: University Press of Mississipi.