Architecture, the Mass Media, and the Transmission of Culture
May 14th, 2012“The chief function of the city is to convert power into form, energy into culture, dead matter into living symbols of art, biological reproduction into social creativity”, Lewis Mumford famously wrote. Power, in its many forms, is what makes a city a city, most of us would probably agree. Even a small core city in a small region exudes energy unmatched by neighboring municipalities.
Power is transmitted many ways in a city, perhaps none more conspicuously than through the mass media and through architecture. And so the relationship between architecture and the media is worth trying to unravel.
An independent media is a necessity for a democratic society, for truth can both extend and challenge power. The coarseness and tenacity of media discourse in America may verge on prurience, but, then, flowers grow best out of manure, not beach sand. The more enlightened media outlets strive to report objective truths. The less high-minded convey their particular slants, which, presumably, people can cobble together to get an approximation of the truth. Democracy is messy, conflicted, and negotiated, and the mass media offer proof of that.
Architecture is an obvious symbol of power, from the cathedral to the mansion house to the skyscraper office. Along with the media, architecture helps create a community’s identity, meaning, and structure. In this sense, power creates truth.
At one level is the image of a city. The media can expound about job availability, cost of living, educational opportunities, cultural amenities, public health, and all the other reasons people are attracted to cities, but architecture provides the most enduring consensus. Truth, in theory, may depend on perspective — we know how wonderful our children are, despite what the teacher says — but the most powerful image of a city is conveyed by the quality of the buildings we see and the details of the streetscapes we traverse.
Social scientists tell us many things: image is fleeting and space is fungible; identities are created and re-created; meaning derives from the reality we perceive; the city in which we live is but a single node in a multi-nodal, multi-level, ad hoc, world wide web of power; and — the bottom line — the big economic, environmental, and social problems of today cannot be solved in the traditional manner.
This makes sense to us because of the destabilizing influence of financial capital, which can move globally beyond the reach of traditional regulators, particularly governments. At bottom, our world and our living spaces are unstable, not because of nuclear weapons or climate change, but because work is unstable.
How do American media react to economic and social instability? By elevating job creation to the ultimate civic virtue, with the attendant glorification of corporate executives, sanction of demeaning work, and consent for public subsidies for private enterprise.
How does architecture react to instability? By turning homes into cocoons full of indoor and outdoor entertainment devices, by trying to recreate the intimacy of pre-automobile communities, and by avoiding discussions of how to make workplaces more humane.
But perhaps it’s unfair to point a critical finger at the mass media and architecture. If it is true that power is a web of relationships controlled primarily by those who can transplant large sums of financial capital, then it is also true that all individuals have access to parts of the web, and, therefore, have at least some power. And, since everyone has power, there is, in the words of Michel Foucault, “no soul of revolt, no source of all rebellion”. There is, in other words, no cataclysmic change in advanced capitalist societies; rather, there is quiet, persistent “resistance” from all sides.
It is through such small-scale resistance that individuals and groups try to establish an identity and find meaning in their lives, as evidenced by the explosive growth of private blogs, social media, and, in the mainstream media, citizen journalism. The common denominator is a focus on particular contexts and specific local conditions and differences, and, at the same time, handwringing about proper spaces for free expression and privacy.
In such spaces, which prioritize individual judgments, the subject is all important. The thoughts and desires of the individual-as-subject are never represented as innate or neutral or universal. Not surprisingly, by far the majority of mass media coverage in the United States tracks local events, personalities, and opinions: honor students; glamour queens; hospital admissions; local foods and foodies; rodeos and demolition derbies; high school sports; the girl next door who met the president; the boy who beat the odds; grunge bands and gay bars; murders and embezzlements; bling and bullocks; local elections; dance marathons and house fires; the big businessman; the big local philanthropist (usually the big businessman); woman of the year; inner city crime; good schools and bad schools; how we rank compared to other communities; how to cook like a chef, meet other singles, dance like a pro, get a job; the missed opportunity; the second chance; store openings; interview with a new store owner; interview with shoppers; and, throughout, invitations to “tell us what you think, send us your story”.
The contemporary American media draw their power from contingency: viewpoints offering a partial glimpse are strung together and a logic emerges, a sense of truth, about a person or a place. It is a logic that is by now a cultural truth in America: success or failure is decided by constant adaptation to unforeseen circumstances, by openness to opportunity, by fearlessness in the face of chance. This is how we appreciate, judge, and engage the world through the media.
Curiously, it’s the antithesis of the cause-and-effect, outcome-oriented logic used to develop the comprehensive plans and policy goals which American urban planners and policymakers expect will result in positive, predictable, and manageable change in cities. Is planning, therefore, misguided, or out-of-step with the logic that drives American culture? Perhaps the mass media have a lesson for planners and policymakers; namely, that human control is overrated.
There is nothing abstract in the media’s portrayal of the world. It is life in the raw, concrete in the extreme.
Ironically, architecture, with its rootedness and apparent permanence, is really the more abstract (or, at least, less concrete) human achievement compared with the mass media. Architecture can provide a counterpoint to the hard particularities of the mass media worldview. Buildings designed to the measure of man link us to something bigger, something universal. The media may employ architecture critics, but, really, architecture critiques us. Think of architecture that goes beyond a single building and is concerned with the environment that supports it and the community that maintains it. Resistance to capitalist expansion is seldom more subtle, nor sustainability more poignant. Sustainability makes no sense except in terms of how the built environment meets the natural world. Think of human-scale, built spaces that offer chances to mix work, religion, politics, art, and science, and thus offer promising moments of cultural dialogue and participatory democracy.
Human life is private and social, sensual and ideal, transitory and immortal. Tradition and social life, in other words, are forms of the ideal worthy to endure. At its best, architecture, singular among human endeavors, accepts each principle, one seemingly opposed to the other, and endows the material world with an idealism while acknowledging the limitations of nature.
The affinity between great architecture and an independent media goes beyond the groundbreaking or ribbon cutting ceremony. Without the universalities of the best architecture and the particularities of the mass media, American culture could not perform its essential function, that is, the creation and transmission of a social heritage.
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