Daily Archives: May 13, 2017

So Paolo is a small aquaponics farming settlement where residents and visitors gather medicinal compounds from the surrounding jungle. 2100: A Dystopian UtopiaThe City After Climate Change, by Vanessa Keith/StudioTEKA(New York: Urban Research, 2017). Courtesy of Terreform.

In the not-so-distant future, what remains of So Paulo is something like an ecoresort medical crop farm for ewoks. People from all over the world travel to its lush, frequently flooded rain forest and set up shop in ovular pods in the treetops connected by open-air skywalks. They farm fish, grow sugarcane, and harvest rare, medicinal compounds from the surrounding jungle. Crews deconstruct the old city, leaving more room for this life-saving flora to reassert itself.

A continent away, the city of Phoenix, Arizona, is also in the process of unbecoming. Residents of its single-family houses are cannibalizing their neighborhoods at the stern urging of statist security forces. (Lets say something like United Nations troops, perhaps wearing black helmets instead of blue ones.) The nations sixth-largest city will be shrunk to a tiny fraction of its former size to make way for more massive solar energy farms that dominate the desert landscape. Former Arizonans are invited to move themselves along with the bricks and mortar of their communities to a burgeoning megacity in Vancouver. Some people dont want to go, and are meeting in secret to talk about what to do if theyre forced.

Those companion (but tonally opposed) visions of the future begin with the same book, Vanessa Keiths 2100: A Dystopian UtopiaThe City After Climate Change, published by Terreforms Urban Research, Michael Sorkins publishing imprint. It envisions a world where preventing the two-degree Celsius change in global temperatures to forestall a total ecological collapse is a quaint memory. In 2100, global temperatures have risen by four degrees Celsius. Much of North America and Europe is a largely uninhabitable desert. Humanity races toward the poles, purposefully melting glaciers for freshwater and establishing a new stock exchange in Greenland. Many millions of people are displaced by climate change, yet the global population reaches 10 billion. Carbon is sequestered from the air into carbon fiber, and concrete megastructure biomes in Antarctica are filled with pleasure gardens and fresh fruits and vegetables. Is this a resilient techno-utopia or a tomb for the dying days of humanity? Its presented as neither, exactly, with the direct, matter-of-fact tone of exhibition wall text, and with no political undercurrents inherent in mass relocation induced by climate change. Keith, an architect whose practice is StudioTEKA, puts this contradiction up front. This work is intended to be both a resounding call to action, she writes, and an optimistic proposal for the difficult future we stand to inherit if we do not act.

Much of Phoenix, Arizona, is given over to solar power farms as the city is largely deconstructed. 2100: A Dystopian UtopiaThe City After Climate Change,by Vanessa Keith/StudioTEKA (New York: Urban Research, 2017).Courtesy of Terreform.

Keiths most ingenious idea is the pairing of city types that organize the book and form closed resource loops in its world. There are extraction cities (often located in a very wide equatorial band with extreme weather) thatare cannibalized for materials, mined for energy, and staffed by a skeleton crew of residents. These formerly great cities, like Manila and New York, harvest wind energy from constant tropical storms or take advantage of other extreme weather for energy generation. Each extraction city is paired with a compact megacity: ultradense settlements closer to the poles that welcome climate refugees (and energy generated in the depopulated zones) into hive-like high-rises. Sleepy Siberian outposts become thick with biomorphic megascrapers. In Vancouver, acres of trees and understory march up sloped skyscrapers. In Wellington, landscrapers burrow into the earth and also funnel wind energy. Johannesburgs buildings are covered in facades that allow all manner of vines and animal habitats to dig in, acting as a huge carbon sink. Theyre also a vital element of ecological preservation, since half of all animal species have gone extinct.

In Johannesburg, building facades that act as habitats for plants and animals provide refuge in a world where half of all species have already gone extinct. 2100: A Dystopian UtopiaThe City After Climate Change,by Vanessa Keith/StudioTEKA (New York: Urban Research, 2017).Courtesy of Terreform.

This key pairing is what allows Keith to stop short of a total Malthusian collapse for humanity. Securing resources and habitable land in such a tight city-to-city connection across international borders also seems implicitly to call for the dissolution of the nationstate as the fundamental organizing unit of government, and for the re-emergence of the citystate.

Keiths book tears down disciplinary divisions and assumed divisions between the natural and the urban. It reaffirms the omnipresent need in the climate change era for all infrastructure to serve multiple functions. All the technology she mentions either exists or is being researched. For decades now, ecologists and environmental designers have been reminding the world that humans must find ways to live more in concert with natures design. But in 2100, were forced to pound ourselves out on the climate change anvil of our own design. Keith talked with LAM about what these hammer strokes might look like.

So is this a utopia or a dystopia?

Were trying to get away from binary thinking of a dystopia or a utopia. Its really hard to separate. What were trying to really do is focus on hybridity. Things can be this and that. We can have a utopia within a dystopia. We took as our site this world at four degrees of warming, which is arguably dystopian. And its far from ideal, but if we keep going, it may very well happen. The utopian part of the book is that, while we have not been able to stop global warming, weve been able to prepare for itin away that is orderly andin a way that hasnt caused chaos and death on a massive scale.

Troll is Antarcticas first large city. 2100: A Dystopian UtopiaThe City After Climate Change,by Vanessa Keith/StudioTEKA (New York: Urban Research, 2017).Courtesy of Terreform.

Outside of the habitable megastructures that several of these projects use, what you see in these scenarios pretty broadly falls under the definition of landscape architecture or landscape urbanism. What can these design practices do that others cant in this extreme climate?

I feel that landscape architecture has an enormous role to play, and that we need to have more collaboration and interdisciplinary work across our fields. In Troll [Antarctica], the landscape is inside the building. So, is that interior design or landscape design? Who does that? Is that the architect or the landscaper? We need to think beyond these categories.

Were going to have to work together internationally, and were going to have to work together across the divides in our thinking that act as a blindspotpreventing us from seeing solutions. The city is not separate from nature. Theres nature in citieswe just dont choose to see it that way. Whats really required is a new perspective and work that is trulyinterdisciplinary. Why is it that the architect makes the building, the interior designer does the inside, and the landscape architect does the outside? Maybe nature [forces us to] rethink these artificial positions we have.

In Beijing, former landfills are mined for precious metals. 2100: A Dystopian UtopiaThe City After Climate Change,by Vanessa Keith/StudioTEKA (New York: Urban Research, 2017).Courtesy of Terreform.

The challenge is to create intermediate spaces that are neither fully urban nor fully of the biosphere. If you look at the example of Beijing, I wanted to have a site wherewe couldlook at the issue of polluted environments, and how we deal with waste.Eco-System, a recycling plantnearTokyo,produces around 600 pounds of gold per monthas much gold as a small gold minefrom oldcell phones and circuit boards. I really feelthat in the future well go back to our landfills and mine them like we currently mine for gold. Theres so much value inthe thingswethrow away.

Which of these places would you really want to visit? Which sound terrible to you?

Id like to visit all of them! I love New York, and I live here now, but if we go to a four-degree world, I dont know if anyone is going to want to be in a coastal area during hurricane season. Wellington is very interesting. The climate is supposed to be pretty mild there, even with four degrees of warming.I really like the idea that we have this radial city over a gorge with these furry bridges that collect wind energy, and I like the public outdoor space in the stacked rambla.People might also want to tour the energy installations in Manila and New York, andspending timein So Paulo in the rain forest either as a vacationer or a volunteer looks like it would be great. The places youre going to want to spend the most time are the compact megacities. We envisioneda world of dense urban settlements, smaller-scale outpost settlements, and a lot of wilderness, farming, and renewable energyfarms in between. Not a lot of urban sprawl.

Landscrapers in Wellington help funnel wind energy. 2100: A Dystopian UtopiaThe City After Climate Change,by Vanessa Keith/StudioTEKA (New York: Urban Research, 2017).Courtesy of Terreform.

Are these places to thrive as a species or places simply to survive? Or are both of these ways of living happening at the same time?

I think theyre places to thrive. I dont want to see a world where were focused only on survival. I think that if we have a world where were able to harness our smarts and our technology, that we would do it in such a way to have a better quality of life.

So why not shade this more intensely as a pure, joyous utopia or completely dismal hellscape, instead of a more middle-of-the-road approach?

I wouldnt say that its middle-of-the-road. Again, its utopia within dystopia. It would be horrifically irresponsible of me to say, Lets just go on the way we are. Right now business as usual is six or seven degrees by 2100. At six degrees [warming], with very warm oceans, hurricanes can circumnavigate the globe multiple times. That is not something that we want. What we want to emphasize is, look at all this great stuff thats going on. Look at all these wonderful people that are doing this research to solve our problems. Why dont we start using that now, and maybe we can have something thats better than were imagining?

Compact megacity Moscow is a vertical maze of old and new high-rises. 2100: A Dystopian UtopiaThe City After Climate Change,by Vanessa Keith/StudioTEKA (New York: Urban Research, 2017).Courtesy of Terreform.

But why not scare people the other way with UN storm troopers and mass relocation to the Antarctic? Theres the carrot, and the stick.

Within the arc of a few years weve gone from thinking that driving a hybrid SUV and recycling was doing enough to [solve] the problem, to [thinking] its so big I cant do anything. People get crisis fatigue. Everythings a crisis. If you cant do anything, you may as well party while the world burns. I didnt want to do the storm trooper vision of the future because it makes people feel overwhelmed and that theres nothing we can do, and thats not true. I dont want people to feel disempowered and that they have to wait for a top-down state solution.

Zach Mortice is a Chicago-based architecture and landscape architecture journalist. Listen to his Chicago architecture and design podcast A Lot You Got to Holler, and follow him on Twitter and Instagram.

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THRIVE OR SURVIVE - Landscape Architecture Magazine

Some of the best pop music comes out during the summer, but only one track can reign supreme as the Song of the Summerthe ubiquitous, wildly catchy tune that even your grandmother knows by heart. Past winners include "California Gurls" by Katy Perry and "Umbrella" by Rihanna, but, for whatever reason, the title usually goes to a male artist. That's a shame because female artists consistently put out stellar work every year around this timeand 2017 is no exception. These 15 newish tunes are particularly great, and all deserve a shot at being 2017's Song of the Summer (because the last thing we need is another "Party Rock Anthem").

Miley Cyrus, "Malibu"

"Malibu," a bright (and very romantic) tribute to Cyrus' fianc, Liam Hemsworth, sounds nothing like the bizarre electro-pop from her last two albums. The "Can't Be Tamed" singer reins it in here, swapping shock-and-awe antics for a lovely acoustic-based melody and some genuinely heartfelt lyrics. ("Sometimes I feel like I'm drowning and you're there to save me," she sings.) But don't think "Malibu" isn't catchy: A thumping baseline kicks in 60 seconds into the song and catapults it to beach-party utopia. (And her vocals, as always, are beautiful.)

MisterWives, "Drummer Boy"

Yes, MisterWives is a co-ed band, but it's fronted by the supremely talented Mandy Lee, so "Drummer Boy" earns a spot on our list. The song, which is Lee's ode of sorts to her real-life fianc (and MisterWives drummer) Etienne Bowler, expertly weaves between backyard indie rock and gleeful eighties dance. It's an unexpected but incredibly satisfying progression.

Katy Perry, "Bon Apptit"

"Bon Apptit" is a departure from Perry's typical brand of bright disco candy, but that doesn't make it any less sweet. The newly blond pop queen swaps effervescent hooks for slick, R&B-tinged beats and food metaphors galore. Granted, "Bon Apptit" doesn't deliver instant pleasure, like "Teenage Dream" (or even "Roar"), but its grimy, groove-heavy sound will eventually seep into your brain and stay there. Enjoy the meal.

Emmalyn, "Phone Off"

You probably know Emmalyn best from G.R.L, the L.A.-based pop group known for bubblegum hits like "Ugly Heart" and "Vacation." But on "Phone Off," one of Emmalyn's first singles post-G.R.L, she substitutes sugar with sex. Lots of it. Specifically, she wants the scrub in this song to put his damn phone down and pay attention to her (which, let's be real, same). This midtempo jam exudes nightclub bombast; its slow-burning hook harks back to Cassie's "Me & You"R&B that's practically tailor-made for grinding (or, ya know, other stuff).

Hey Violet, "Break My Heart"

"Break My Heart," the latest single from Hey Violet (formerly known as Cherri Bomb), is instant gratification in music formand that's not a bad thing. The track mixes glossy, synth-heavy verses and a truly orgasmic dubstep chorus to create a summer smash that demands your attention. And gets it. "Heart" is earworm ecstasy at its finest.

Lady Gaga, "The Cure"

"The Cure" marks Gaga's true return to sticky dance pop after going country with last year's Joanne. The song is not groundbreaking by any meansthe chorus is paint-by-numbers, and it follows trends rather than sets thembut, damn, it's effective. What "The Cure" lacks in originality it makes up for with its unyielding dedication to the hook. There's plenty of room in Gaga's expansive catalog for a simple slice of pop pie.

Nicki Minaj, "Regret in Your Tears"

"Regret in Your Tears" is a slightly more bummed-out version of "The Night Is Still Young." In lieu of an ear-crashing dubstep refrain, Minaj opts for simple, beat-driven production and a very clever use of echo and Auto-Tune. Catchiness with a side of feels.

Dorothy, "Down to the Bottom"

"Down to the Bottom" isn't a pop song, but its stomping, rebellious rock chorus is just as catchy as any Max Martinproduced smash. Dorothy's soulful vocals sound particularly powerful against the emphatic, guitar-laden instrumentals of "Down to the Bottom." A hit with a kick.

Hailee Steinfeld, "Most Girls"

"I don't want to be like most girls," Steinfeld exclaims on this very routine (but nonetheless fun) piece of top 40 EDM. The track doesn't hit the spot quite like "Starving" did last year, but its plucky and swirling chorus will certainly find a home in your subconscious.

Rebecca Black, "Foolish"

Yes, the gal who brought you "Friday" just delivered one of the season's best pop songs. (On that note: The hate Black received back then was uncalled-for. She was just a teenager having fun, and the Internet crucified her.) With "Foolish" Black trades in the shrill, plastic-pop sound of "Friday" for a luxurious, Daft Punkesque production. It's a smooth, twinkly track that will fit perfectly inside any smoky nightclub. You'd be foolish to skip.

Halsey, "Eyes Closed"

The Weeknd cowrote "Eyes Closed," an ominous and gritty jaunt from Halsey's forthcoming album. "Now if I keep my eyes closed, he looks just like you," Halsey sings over a lush (and deeply sensual) techno groove. "But he'll never stay; they never do." The song is one of Halsey's strongestand sexiestto date.

Haim, "Want You Back"

Haim's highly anticipated second studio album drops in July, and they've teased it so far with two songs: "Right Now," and "Want You Back," a positively jovial slice of summertime pop. Seriously, in a landscape dominated by moody, sexed-up midtempos, the breezy, funk-ified handclaps of "Want You Back" are more than welcome. It's just so damn happy.

Lorde, "Green Light"

Lorde puts exuberance in place of emotion on "Green Light," a dizzying dance tune that oddly combines piano beats and computer beeps. "Green Light" is the antithesis of "Royals," Lorde's gloomy, slow-boiling debut single that reached number one on Billboard's Hot 100. It's bonkers, but it works.

Alessia Cara and Zedd, "Stay"

"Stay" is the oldest song on this list, but it's getting a resurgence thanks to the film Everything, Everythingand cheers to that. Zedd works his standard magic on this zany, electronic confection, but it's Cara who really steals the show. Her robust, velvety vocals sound otherworldly against the song's zipping bells and whistles. If we had to predict Song of the Summer right now, this would be it.

Selena Gomez and Kygo, "It Ain't Me"

Gomez's last attempt at an EDM collab, 2015's "I Want You to Know" with Zedd, was lackluster and stale. The singer sounded lost amid Zedd's involved production, but she defiantly finds her voice on "It Ain't Me," which features beats from Kygo. The track is strong, straightforward, and immediateall the ingredients needed for good dance music. Studio trickery on Gomez's voice gives the song an extra jolt of electricity.

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Song of the Summer 2017: 15 New Tracks by Women That Deserve the Top Honor - Glamour

ROME - Italian Premier Paolo Gentiloni on Friday addressed a meeting of presidents of the Parliamentary Assembly of the Union for the Mediterranean in the Senate in Rome saying that, ''as well as working to try to govern the ongoing crises and to fight together against terrorism and migrant trafficking, there is a commitment'' to start creating a ''possible new order in the Mediterranean''.

The premier continued saying that ''talking now of this new order, looking at the current crises and difficulties, can appear a utopia'', but added that ''new social demands require a more stable region'' and ''we have huge potential''.

''Parliamentary diplomacy can accomplish a lot'' in this respect, said Gentiloni.

''Italy is a strip of land overlooking the Mediterranean'', Gentiloni went on to say. ''We have 8,000 km of coasts. And civilizations prospered in this sea, three great monotheistic religions, extraordinary cultural and commercial activities. We are today the heirs of this great heritage. This fundamental place of universal civilization has however been at the center, over the past few years, of a gradual process of instability.

And the Mediterranean has become a place where instability and conflicts have spread'', with very serious phenomena including migration flows ''managed by trafficking rings'', radicalization and terrorism.

Gentiloni said all this ''gives us a responsibility''.

''We have worked over the past few years to put the Mediterranean issue at the center of the European political agenda - he recalled - Europe needed to look at the south and Italy worked so that it would be understood how fundamental it is to look towards the south. And we are still working on this, both in our role as rotating presidents of the G7, which will meet in Sicily in June and will have as a focus relations with Africa'' and ''we are dealing with this also in our relations with Osce and the Mediterranean, in our role as rotating presidents, in the so-called Berlin process and in the summit to be held in Trieste in the coming weeks''. ''And when we talk about the Mediterranean - he observed - we cannot forget the issue of the development of the Balkans''.

According to the premier, the ''Mediterranean must be placed at the center of political agendas, not only because ongoing crises must be contained and resolved, starting with Syria'', but also because ''if all these challenges will not be confronted'' by finding an effective solution, ''a policy of peace and development in the region will be increasingly difficult''.

For this reason, he assured, ''it is necessary to start weaving the web of a new order in the Mediterranean'' although such an effort can appear unrealistic. ''We have great potential'', he said, recalling that next Sunday he will be in China ''for a summit on silk roads'' because trade with that part of the world ''has been a great opportunity for all of us for centuries''.

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UfM: New order necessary in the Mediterranean, Gentiloni - ANSAmed