This post is part of an on-going series about 21 century urbanism. 
Previous post, China’s Great Uprooting. 
In any metropolitan area, settle into a conversation with a thirty-something. Below the buzz and smog of modernity is something the young generation deems very, very valuable.

Its access.

Access to fresh ideas, restaurants, fashion, art, and music woven together by community, public transit, parks and trees. Clean water, fast internet and waste disposal provided on the cheap tend to be an afterthought, but fall into modern city goodness. Its the chance to participate in a supercharged economy that people opt for shrinking spaces, a glass and asphalt existence.

Coming of age generations chose cities, and they are choosing in droves. Well positioned cities are experiencing a re-valuing of space that may have never existed. In my little world of Santa Monica, CA, a square foot of residential space in downtown can go for upwards of $6 per square foot.

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Still, people’s desire to be in urban areas is pushing built out cities upwards.  Michael Wolf captures this socioeconomic movement in his recent body of work – Architecture of Density.

Wolf set out to capture the spaces we occupy, and did so beautifully from a distance. Wolf forces the viewer to see our hive-like living and question – where is this headed? Is this what the coming of age generations want?

Thanks for reading.

When light lines up + you are far enough out + you see what you usually cannot see = perspective worth sharing.

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I was in a subalpine lake 8,764 ft in the western sierra just as the sun was rising. Fly fishing, of course.

Once morning light hit the water, I thought of one of Kate Benson’s blog posts.  So I snapped this. Thanks for the continued inspiration Kate!

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Portland’s japanese garden is a pleasant space to explore the work of Isamu Noguchi.

A Japanese American sculptor for more than six decades, Noguchi’s sense of space and apparent disregard for repetition was most surprising. His creative process was steeped in improvisation. It was clear in most of his sculptures. Each stone was cut and chiseled to reveal just as much Isamu’s creative process as it was the object’s form.  Maybe its truer form.

Here are some photographs of the japanese garden. Its aesthetics amplified Isamu’s body of work. He ruminated, “If you want to do academic things, you can do them. It is not difficult. Yet it is from this difficulty – the mistakes and dead ends – that artists develop, not through the quick solutions and not from something you learn and apply.”

It is rare to improvise with sculpture. Not surprising, though, Isamu means ‘courage.’

Thanks for reading.

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