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On The Necessary Steps for The Revival of Civic Art

A city reflects the collective mindset of its residents. Its structure and condition mirrors the internal values and priorities of the people who occupy it. Consequently, the quality and state of the general organization of its urban fabric—such as pedestrian walkways, bicycle lanes, parking configurations, and green spaces—mirror the collective consciousness of the populace.

It is tempting to attribute the disorganization and urban problems of a town solely to the executive leader in charge, such as the mayor or governor. While these figures play significant roles, in democratic systems, they are not permanent appointments; they are replaced or re-elected over time. Leaving their offices to new faces and, thus, new policies. Democracy, by definition, places the power in the hands of the people, meaning that those who are in charge and shape the cities—the executives and legislators—are themselves products of the citizenry. Cities, therefore, are reflections of the collective understandings, priorities, and values of the population.

Since civic art is a multigenerational art form that takes a long time to complete, even if a visionary and highly capable executive were to implement sweeping reforms to reorganize a city with remarkable foresight during his tenure, the continuity and completion of his efforts would ultimately depend on those who succeed him. And without a well-educated and civic-minded populace, the next nomination would go to a leader with no understanding and appreciation for his predecessor’s works; therefore, his work would be rendered incomplete, and the cycle of urban dysfunction would inevitably repeat itself.

Philip IV in Armour, c, 1628. Oil on canvas, Madrid, Museo del Prado. By Velazquez1

On a separate note: The British historian, Colin Rowe, advocated for urban harmony achieved through a collage-like integration of architectural elements from various historical periods. He believed that juxtaposing structures from eras such as monarchical times, ancient Rome, and modern democracies creates a richly layered urban fabric. This approach, detailed in his work “Collage City,” emphasizes the value of diverse historical contributions coexisting within the urban environment.2

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The Problem of Traffic in the Middle East

For an extended period of time, I thought that the dysfunctionality in the Middle East’s traffic stemmed from inadequate urban and infrastructural planning. I used to think that the poorly dimensioned roundabouts, abrupt lane merges, deficient road dimensions, a lack of pedestrian and bicycle paths and the absence of planned parallel parking spaces were the primary—if not, the sole cause of—the unpleasant traffic conditions, where one often feels incensed by the near-anarchic behavior exhibited by drivers on the roads. I would avoid driving in such conditions at all costs, even if it meant that I had to wait longer than 3 days to get a nail clipper delivered to me via an ecommerce site as opposed to taking a convenient ride to the nearest supermarket just a few blocks away. Through time, living here, driving has become an activity I undertake only when absolutely necessary and when no alternative means are available for accomplishing my tasks.

Image 1: Nighthawks by Edward Hopper 1942. A painting intended to depict the shortcomings of urban life, and its isolation.

Indeed, urban life often brings with it a sense of isolation and congestion. In the West, many citizens are keenly aware of the daily hardships that come with commuting. However, having lived on both sides of the Atlantic, I must acknowledge that the scale and severity of traffic-related issues in the East are truly unprecedented. What is even more concerning is that these problems continue to worsen over time, largely because their underlying causes remain unaddressed. Without a concerted effort to tackle these systemic issues, the situation will only deteriorate further, exacerbating the strain on individuals and the city as a whole.1

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