Chartered architect Ian Banks is Director of Atoll, his micro Architecture and Art collaborative. This blog is used as an occasional platform to feature latest news, new work and/or writing.
Won’t You Be My Neighbour? Latest @AtollUK blog article on the history of U.S community empowerment in grass roots placemaking and generally being good neighbours and citizens. https://t.co/cm3giINbmd
A role model for the ultimate in teasing-out true community spirit
and ever-more ‘social street behaviour’ is currently being showcased in
the film A Beautiful Day in the Neighborhood, [1]just
released in the UK. It tells the true feel-good story of the
long-running U.S educational children’s television series called Mister Rogers’ Neighbourhood,
which painted a simple utopian picture of urban life. This imaginary
sense of place was built over nearly forty years around a kingdom,
part-human and part-puppet, called the ‘Neighborhood of Make-Believe’.
The series was fronted by both eponymous and actual Mister (Fred)
Rogers, who both wrote and presented the programme from 1962 up until
its close in 2001.
The content was always whimsical, advocating old tenets like loving
thy neighbour, but also dealt genially with problematical issues of the
day. Underwriting it all was a moral sense of purpose that acted as
self-appointed guardian of the young and vulnerable – including notably a
TV Special that once explored how children might deal with tragedy and
loss following the assassination of Robert F. Kennedy in 1968. In the
new film, Rogers is played by Tom Hanks, and it is difficult perhaps to
imagine any actor more appropriate to portray the gentle kindness and
empathy of both real and imaginary ‘Mister Rogers’.
Ironic, given more modern media scandals, that the starting premise
of the film plotline is the true story of the investigative journalist
who had sought an interview whilst hoping to unearth scandal and
hypocrisy around the private life of Fred Rogers. None was to be found,
as his real and imaginary persona was effectively one and the same. It
all ended happily ever after: He simply loved life and all his millions
of ‘neighbours’.
Around the middle of the 40-year run of Rogers’ fictional kingdom,
another real-life call for a better quality of life for individuals and
society was also being made by another altruistic American in the U.S.
William Hollingsworth (Holly) Whyte [2]
was an urbanist, writer and organisational analyst – but also an
unobtrusive people-watcher like Fred Rogers. In 1980, in conjunction
with the Municipal Art Society of New York [3], he published the findings from his visionary Street Life Project[4] in a book called The Social Life of Small Urban Spaces. [5]
This is still seen today as a seminal study of human behaviour in
urban settings – and remains a chief advocate for more bottom-up place
design. In it, Whyte’s pioneering research on New York pedestrian
behaviour and city dynamics was dutifully recorded and then interpreted.
Along with his team of research assistants, he walked the streets of
the city neighbourhoods with camera and notebook in hand.
Prior to this, in 1969, Whyte had
already assisted the New York City Planning Commission in the writing of their 6-volume
Plan for New York City.[6]
This sea change to urban planning came at a key point in the city’s own development,
as since 1950 New York had begun facing many problems linked to such things as:
‘white flight’; a decline of manufacturing; rising unemployment, crime and racial
tensions; and a shortage of quality, affordable housing. As such, and with his
identified focus on humanising neighbourhood-level planning via documenting the
progress of newly planned urban spaces, Whyte received a vital grant allowing
him and his team time to study the community life blood of New York (and other
cities) as part of the Street Life Project.
Both the book and the 55-minute accompanying
film produced were instantly labelled classics and launched a mini-revolution
in the planning and study of public spaces. This body of work became a
blueprint on how to live in a city, whilst it questioned preconceptions of the
time that people-space and street-space were incompatible with one another. Whyte
described the street as “the river of life” with people-watching its principle
activity. He also identified seven elements that he believed seeded spaces for
lively activity – namely:
Sittable Space, with a variety of fixed and movable seating; Street,
spaces with proximity and good connections; Sun, giving direct or
reflective access to light; Food, including from carts, cafes, or snack
bars; Water, including public access to rivers, ponds, and interactive
features; Trees, to create a defined canopy; and finally, Triangulation
to create things, actions, activities and art to act as a “Venturi
affect” and ‘people magnet’.
The key Whyte believed, was to record,
document and then act upon why some city spaces worked for people while others
did not. From the lessons drawn, practical implications on how to make urban living
more joyful were proposed. Key was empowering a subconscious social ritual where
actual people do the deciding. A classic example of this was Whyte’s documented
interest in lightweight moveable chairs used in public space. He believed it “A
wonderful invention – the moveable chair… a declaration of autonomy, to
oneself, and rather satisfying”.
The Street Life Project was
to continue for more than 16 years, whilst Holly Whyte also became a key
planning consultant for other major U.S. cities, travelling and lecturing
widely. As well as publishing his The Social Life of Small Urban Spaces,
William H Whyte authored other books on urban planning, design, and human
behaviour including notably: Is Anybody Listening? (1952); The
Organization Man (1956); The Exploding Metropolis (1958); Securing
Open Spaces for Urban America (1959); Cluster Development (1964); The
Last Landscape (1968); and City: Rediscovery of the Center (1988).
40 years on from his first publication of The Social Life of Small Urban Spaces, the non-profit organisation Project for Public Spaces (PPS), [7] has grown out of the Street Life Project.
Founded in 1975, PPS remains dedicated to place making and helping
people create and sustain public spaces that build strong communities.
Since inception, PPS have completed projects in more than 3,500
communities in over 50 countries and in all 50 mainland U.S. states.
The direct U.S legacy to organisations like PPS is a real testament
to the power of William H Whyte’s original vision. More indirectly, and
back in New York itself, as well as the Municipal Art Society of New York
still existing, many other community, environmental and social arts
led initiatives also thrive: Notable are long-standing exemplars like
non-profit organisations Creative Time,[8]The High Line, [9]The River Project[10] and GrowNYC[11] .
America of course cannot hold the monopoly on the ‘unalienable right’
of citizens to ‘Life, Liberty and the pursuit of Happiness’. Even if
this was recognised as being granted by God to all humans in the U.S
Declaration of Independence, as drafted by Founding Father Thomas
Jefferson way back in 1776.
There is no unachievable make-believe in seeking beauty or happiness
anywhere, using the imaginary or real neighbourhood models that Fred
Rogers and William H Whyte helped conceive and document so painstakingly
over many years. The guiding morals for city betterment they both
espoused were similar, in involving simple common sense to help us
achieve cultural wellbeing and more liveable places. That is to say:
Holistically look to build up a real sense of community from the grass
roots upwards; Listen to and watch what people want with compassion,
before implementing what works well; Understand and attend to the
fundamental core draws that make the ‘life’ of some places so truly
social; Then, when all that is done, do anything you can to welcome,
embrace and rekindle our rather lost current sense of public
spiritedness, empathy, altruism and neighbourliness.
Pursue all that dutifully, and happiness must surely follow!
