MEXICO CITY — Observed from a soaring cable car, the city is a sea of concrete stretching to the horizon, ruptured only by clusters of skyscrapers and the remains of ancient volcanoes. Some 60 feet below is the borough of Iztapalapa, a warren of winding streets and alleyways, its cinder block houses encasing the neighborhood’s hills in insipid gray.
But then, on a rooftop, a sudden burst of color: a giant monarch butterfly perched atop a purple flower. Further along the route of Mexico City’s newest cableway, a toucan and a scarlet macaw stare up at passengers. Later, on a canary yellow wall, there is a young girl in a red dress, her eyes closed in an expression of absolute bliss.
The 6.5-mile line, inaugurated in August, is the longest public cableway in the world, according to the city government. As well as halving the commute time for many workers in the capital’s most populous borough, the cable car has an added attraction: exuberant murals painted by an army of local artists, many of which can be viewed only from above.
most crime-ridden areas of Mexico City.
“People want to rescue their history, the history of the neighborhood,” said the borough’s mayor, Clara Brugada Molina. “Iztapalapa becomes a giant gallery.”
Sprawling toward the outer edge of Mexico City, Iztapalapa is home to 1.8 million residents, some of whom are among the poorest in the city. Many work in wealthier neighborhoods, and before the cable car, this often meant hourslong commutes.
As with many poor urban areas of Mexico, Iztapalapa has long been afflicted by both a lack of basic services, like running water, as well as high levels of violence, often linked to organized crime.
June survey from Mexico’s national statistics agency, nearly eight of 10 residents said they felt unsafe — among the highest rate for any city in the country.
Women in particular face pervasive violence in Iztapalapa, which ranks among the top 25 municipalities in the country for femicide, in which a woman is killed because of her gender. From 2012 to 2017, city security cameras recorded more instances of sexual assault against women in Iztapalapa than in any other Mexico City borough, according to a 2019 report from the National Autonomous University of Mexico.
a giant re-enactment of the crucifixion of Christ.
“That religious stigma weighs against you,” Ms. Cerón said.
As far as the murals go, she says they look beautiful but have done little to make her feel safer.
“It does nothing for me to have a very pretty painted street if three blocks away, they’re robbing or murdering people,” she said.
Alejandra Atrisco Amilpas, an artist who has painted some 300 murals across Iztapalapa, believes they can make residents prouder of where they live, but she admits they can only go so far.
“Paint helps a lot, but sadly it can’t change the reality of social problems,” she said.“A mural isn’t going to change whether you care about the woman being beat up on the corner.”
Ms. Atrisco, who is gay, said she had come up against conservative attitudes during the project, whether from male artists doubting her abilities or local officials barring her from painting L.G.B.T.Q.-themed murals.
“Violence against women, yes, but lesbians, no,” she said, smiling ruefully.
Still, Ms. Atrisco believes her work can affect residents’ lives by representing the characters of Iztapalapa in full color.
“Every day you confront a new challenge, every day a new wall and a new story,” she said. “You make dreams come true a little bit — you become a dream maker.”
An eviction in East Jerusalem lies at the center of a conflict that led to war between Israel and Hamas. But for millions of Palestinians, the routine indignities of occupation are part of daily life.
By David M. Halbfinger and Adam Rasgon
JERUSALEM — Muhammad Sandouka built his home in the shadow of the Temple Mount before his second son, now 15, was born.
They demolished it together, after Israeli authorities decided that razing it would improve views of the Old City for tourists.
Mr. Sandouka, 42, a countertop installer, had been at work when an inspector confronted his wife with two options: Tear the house down, or the government would not only level it but also bill the Sandoukas $10,000 for its expenses.
Such is life for Palestinians living under Israel’s occupation: always dreading the knock at the front door.
six Palestinian families from their homes in East Jerusalem set off a round of protests that helped ignite the latest war between Israel and Gaza. But to the roughly three million Palestinians living in the West Bank and East Jerusalem, which Israel captured in the 1967 war and has controlled through decades of failed peace talks, the story was exceptional only because it attracted an international spotlight.
For the most part, they endure the frights and indignities of the Israeli occupation in obscurity.
Even in supposedly quiet periods, when the world is not paying attention, Palestinians from all walks of life routinely experience exasperating impossibilities and petty humiliations, bureaucratic controls that force agonizing choices, and the fragility and cruelty of life under military rule, now in its second half-century.
Underneath that quiet, pressure builds.
If the eviction dispute in East Jerusalem struck a match, the occupation’s provocations ceaselessly pile up dry kindling. They are a constant and key driver of the conflict, giving Hamas an excuse to fire rockets or lone-wolf attackers grievances to channel into killings by knives or automobiles. And the provocations do not stop when the fighting ends.
Home on the Edge
No homeowner welcomes a visit from the code-enforcement officer. But it’s entirely different in East Jerusalem, where Palestinians find it nearly impossible to obtain building permits and most homes were built without them: The penalty is often demolition.
shot and killed a teenager who was wandering among the rock-throwers and spent tear-gas canisters.
Al Mughrayyir was one of the few villages still mounting regular Friday protests. They began after settlers cut off access to some of the villagers’ farmland. The boy’s death became a new rallying cry.
The army says it raids Palestinian homes at night because it is safer, and ransacks them to search for weapons, in routine crackdowns aimed at keeping militance in check.
But the raids also inspire militance.
Mr. Abu Alia seethed as he described seeing his son outside in the dark, “afraid, crying because of the soldiers, and I can do nothing to protect him.”
“It makes you want to take revenge, to defend yourself,” he went on. “But we have nothing to defend ourselves with.”
Stone-throwing must suffice, he said. “We can’t take an M-16 and go kill every settler. All we have are those stones. A bullet can kill you instantly. A little stone won’t do much. But at least I’m sending a message.”
Settlers send messages, too. They have cut down hundreds of Al Mughrayyir’s olive trees — vital sources of income and ties to the land — torched a mosque, vandalized cars. In 2019, one was accused of fatally shooting a villager in the back. The case remains open.
A Family Divided
For Majeda al-Rajaby the pain of occupation never goes away. It slices straight through her family.
A twice-divorced teacher, Ms. al-Rajaby, 45, is divided from her five children by the different ways Israel treats Palestinians depending on where they are from.
She grew up in the West Bank, in Hebron. But both her ex-husbands were Jerusalem residents, allowing them to travel anywhere an Israeli citizen may go. The children were entitled to the blue IDs of Jerusalem residents, too. Hers remained West Bank green.
Both her husbands lived in Shuafat refugee camp, a lawless slum inside the Jerusalem city limits but just outside Israel’s security barrier. West Bankers are not allowed to live there, but the rule is not enforced.
She had thought she was marrying up. Instead, she said her husbands “always made me feel inferior.”
After the second divorce, she was left on her own, with her green ID, to raise all five children with their blue IDs. The distinction could be life-threatening.
When a daughter accidentally inhaled housecleaning chemicals, Ms. al-Rajaby tried to race her to the closest hospital, in Jerusalem. Soldiers refused to let her in. As a teacher in Shuafat, she had a permit to enter Jerusalem, but only until 7 p.m. It was 8:00.
The Israeli-Palestinian Conflict
Her children are older now, but the distinction is just as keenly felt: Ms. al-Rajaby allows herself to be excluded from joyful moments and rites of passage so her children can enjoy advantages unavailable to her.
She stays behind on the Palestinian side of the security barrier while they head off to Jaffa or Haifa, or on shortcuts to Hebron through Jerusalem, a route forbidden to her. “West Banker,” they tease her, waving goodbye.
One daughter is 21 now and engaged and goes on jaunts into Israel with her fiancé’s mother. “I should be with them,” Ms. al-Rajaby said.
Last summer, Ms. al-Rajaby moved out of Shuafat to a safer neighborhood just outside the Jerusalem city limits, in the West Bank. That means her children could lose their blue IDs if Israel determined that their primary residence was with her.
“I’m not allowed to live there,” she said of Shuafat, “and my daughters are not allowed to live here.”
Constrained as she is, Ms. al-Rajaby wants even more for her children than freedom to move about Israel.
In 2006, her daughter Rana, then 7, was burned in a cooking accident. An Italian charity paid for treatment at a hospital in Padua. Mother and child stayed for three months.
The experience opened Ms. al-Rajaby’s eyes. She saw green parks, children in nice clothes, women driving cars.
“It was the moment of my liberation,” she said. “I started thinking: ‘Why do they have this? Why don’t we?’”
Today, she urges all her children to see the world, and holds out hope that they might emigrate.
“Why,” she asked, “should someone keep living under the mercy of people who have no mercy?”
Working for the Occupation
Try as they might to make their accommodations with Israel, Palestinians often find themselves caught in the occupation’s gears.
Majed Omar once earned a good living as a construction worker inside Israel. But in 2013, his younger brother was spotted crossing through a gap in Israel’s security barrier. A soldier shot him in the leg.
Mr. Omar, 45, was collateral damage. Israel revoked his work permit just in case he had ideas about taking revenge — something Israel says happens too often.
He sat unemployed for 14 months. When Israel reissued his permit, it only allowed him to work in the fast-growing West Bank settlements, where workers are paid half as much, searched each morning and supervised by armed guards all day.
Which is how he came to be the foreman on a crew that remodels Jewish homes and expands Israeli buildings on land the Palestinians have long demanded as part of their hoped-for state.
In a small way, it’s like digging his own grave, Mr. Omar said. “But we’re living in a time when everyone sees what’s wrong and still does it.”
Violence is often sudden and brief. But the nagging dread it instills can be just as debilitating.
Nael al-Azza, 40, is haunted by the Israeli checkpoint he must pass through while commuting between his home in Bethlehem and his job in Ramallah.
At home, he lives behind walls and cultivates a lush herb and vegetable garden in the backyard. But nothing protects him on his drive to work, not even his position as a manager in the Palestinian firefighting and ambulance service.
Recently, he said, a soldier at the checkpoint stopped him, told him to roll down his window, asked if he had a weapon. He said no. She opened his passenger door to take a look, then slammed it shut, hard.
He wanted to object. But he stopped himself, he said: Too many confrontations with soldiers end with Palestinians being shot.
“If I want to defend my property and my self-respect, there’s a price for that,” he said.
His commute is a 14-mile trip as the crow flies, but a 33-mile route, because Palestinians are diverted in a wide loop around Jerusalem along a tortuous two-lane road of steep switchbacks. Even so, it ought to take less an hour — but often takes two or three, because of the checkpoint.
The Israelis consider the checkpoint essential to search for fleeing attackers or illegal weapons or to cut the West Bank in two in case of unrest. Palestinians call it a choke point that can be shut off on a soldier’s whim. It is also a friction point, motorists and soldiers each imagining themselves as the other’s target.
Idling and inching along, Mr. al-Azza compared traffic to blood flow. Searching one car can mean an hour’s delay. The soldiers are so young, he said, “They don’t feel the weight of stopping 5,000 cars.”
He thinks only of those delayed. “When they impede your movement and cause you to fail at your job, you feel like you’ve lost your value and meaning,” he said.
A few nights each week, delays force him to sleep at work and settle for video calls with his three children.
On weekend outings, the checkpoint takes a different toll on his family.
“I try to keep my kids from speaking about the conflict,” he said. “But they see and experience things I have no answer for. When we’re driving, we turn the music on. But when we reach the checkpoint, I turn it off. I don’t know why. I’ll see them in the mirror: All of a sudden, they sit upright and look anxious — until we cross and I turn the music back on.”
Deadly scenarios constantly play out in Mr. al-Azza’s head: What if a tire blew out or his engine stalled? What if a young soldier, trained to respond instantly, misconstrued it as a threat?
“It’s not possible to put it out of mind,” he said. “When you’re hungry, you think about food.”
In the Bubble
No Palestinian is insulated from the occupation’s reach — not even in the well-to-do, privileged “bubble” of Ramallah, where Israeli soldiers are seldom seen.
Everyone Sondos Mleitat knows bears the scars of some trauma. Her own: Hiding with her little brother, then 5, when Israeli tanks rolled into Nablus, where she was raised.
In the dark, she said, he pulled all his eyelashes out, one by one.
Today, Ms. Mleitat, 30, runs a website connecting Palestinians with psychotherapists.
Instead of reckoning with their lingering wounds, she said, people seek safety in social conformity, in religion, in the approval gleaned from Facebook and Instagram likes. But all of those, she said, only reinforce the occupation’s suffocating effects.
“This is all about control,” she said. “People are going through a type of taming or domestication. They just surrender to it and feel they can’t change anything.”
After her uncle was killed by Israeli soldiers at a protest, she said, his younger brother was pushed into marriage at 18 “to protect him from going down the same path.”
But a nation of people who reach adulthood thinking only about settling down, she said, is not a nation that will achieve independence.
“They think they’re getting out of this bubble, but they’re not,” she said.
Mr. Sandouka earns about $1,800 in a good month. He hoped the lawyer could quash the demolition order. “I thought they would just give us a fine,” he said.
Then he got another panicked call from home: “The police were there, making my family cry.”
Khalas, he said, enough. He would tear it down himself.
Early on a Monday, his sons took turns with a borrowed jackhammer. They almost seemed to be having fun, like wrecking a sand castle.
Finished, their moods darkened. “It’s like we’re lighting ourselves on fire,” said Mousa, 15.
“They want the land,” said Muataz, 22. “They want all of us to leave Jerusalem.”
In 2020, 119 Palestinian homes in East Jerusalem were demolished, 79 of them by their owners.
When all was rubble, Mr. Sandouka lit a cigarette and held it with three beefy fingers as it burned. His pants filthy with the dust of his family’s life together, he climbed atop the debris, sent photos to the police and contemplated his options.
Moving to the West Bank, and sacrificing Jerusalem residency, was unthinkable. Moving elsewhere in Jerusalem was unaffordable.
A friend offered a couple of spare rooms as a temporary refuge. Mr. Sandouka’s wife demanded permanency.
“She told me if I don’t buy her a home, that’s it — everyone can go their separate ways,” he said.
He turned his eyes uphill toward the Old City.
“These people work little by little,” he said. “It’s like a lion that eats one, and then another. It eventually eats everything around it.”
Little Island, developed by Barry Diller, with an amphitheater and dramatic views, opens on Hudson River Park. Opponents battled it for years.
I won’t dawdle over the mess that followed the island’s announcement. A real estate titan who had bones to pick with the Hudson River Park Trust supported a series of legal challenges. At one point, seeing no end in sight to the court fights, Diller backed out. A deal brokered by New York’s governor, Andrew M. Cuomo, ultimately rescued the project and also delivered public commitments to enhance protections for wildlife habitats and improve other parts of the four-mile-long, 550-acre Hudson River Park.
English garden follies — not least because Little Island can remind you more of a private estate than a city park. It’s clearly going to cost a king’s ransom to maintain, a burden the Hudson River Park Trust (which is to say the public) would have to bear absent other arrangements.
Fortunately, Diller has promised that his family foundation will pick up the tab for the next 20 years. That’s not forever, but it includes programming costs, Diller told me — until the programming (mostly free, not a moneymaker) can find nonprofit funding to “stand on its own.” He estimates he may end up spending $380 million all in — no doubt the largest private gift to a public park in the city’s history, maybe in the planet’s.
The other day I climbed to the topmost point on the island, a grassy crow’s nest with a 360 panorama. A lovely path shaded by dogwoods and redbuds, perfumed by woodland azaleas, snaked up the hillside. The views shifted from city to river, garden to grassland.
Heatherwick’s columns peek through a hill here or there, but you don’t really focus on them once you’re on the island, save for the great arch of giant tulip bulbs at the entrance, which required a year of tweaking to get the curves just right and to accommodate soil for Nielsen’s trees on top.
concerts, dance and children’s programs are planned to get underway this summer. Trish Santini, Little Island’s executive director, told me that her staff has been working closely with community organizations to ensure free and inexpensive tickets get into the hands of underserved groups and neighborhood schoolchildren. A second stage, called the Glade, at the base of a sloping lawn, tucked into the southeast corner of the park and framed by crape myrtle and birch trees, is custom made for kids and educational events. The main plaza, where you can grab a bite to eat and sit at cafe tables under canvas umbrellas, doubles as a third venue.
It’s on the route between the two gangways that link the island to Manhattan — and a stone’s throw from the High Line — so it’s sure to be mobbed. Santini also said the island will do timed reservations to prevent overcrowding. Little Island will need it, I expect. Two-plus acres is half the size of a city block.
sculpture by David Hammons, donated by the Whitney Museum of American Art to Hudson River Park, which traces in steel the outlines of bygone Pier 52.
North of Little Island, Pier 57 — where Google is leasing new quarters — will soon open community spaces, a food court and its roof deck to the public (City Winery is already up and running there). Piers 76 and 97 are also getting makeovers.
agreed with opponents who challenged reports by authorities over whether the project would inhibit the mating habits of juvenile striped bass.
This time environmental agencies determined that Little Island would cause no harm to fish, and the strategy didn’t work.
requirements for wheelchair accessibility are a design opportunity not a burden. I climbed back up the hill to the crow’s nest, and there she still was.
Huddled against a sunny morning gale, the mother duck was tending her eggs.
The ducklings, I learned, just hatched this week. They’ve started paddling in the river.
Maps by Scott Reinhard. Produced by Alicia DeSantis, Jolie Ruben and Tala Safie.
This article is part of our latest special report on Museums, which focuses on reopening, reinvention and resilience.
When Brad Carney sketched the plan for a 15,000-square-foot ground mural in downtown Reno, Nev., he wove in design elements from the area’s railroading heritage, and pulled hues and motifs from nearby buildings and landscapes, including the state flower and the famed Reno Arch.
“I wanted to make it specific and unique to its place, so that this mural couldn’t exist anywhere else,” said Mr. Carney, an artist based in Philadelphia known for his playful, large scale and brightly colored public works.
“When I design murals,’’ he added, “I like to become a vessel for a community and a neighborhood, and not bring too much of myself until I find out what they’re looking for. The point of public art, to me, is the process of involving the community.”
16 small and midsize cities across the country where artists and local residents are taking to the streets — from crosswalks to underpasses — to add new color to old blacktop and pavement with eye-catching urban art as part of Bloomberg Philanthropies’ Asphalt Art Initiative. Grants of up to $25,000 are helping cities create and implement relatively low-cost public art projects to revitalize their streets and public spaces by making them more beautiful, more inviting and safer.
ReTRAC Plaza, a little used concrete and dirt space once covered in train tracks being developed as a hub for local events, Mr. Carney said, from music festivals and farmers’ markets to movie nights.
Kate D. Levin, who oversees arts programs for Bloomberg Philanthropies and was commissioner of the New York City Department of Cultural Affairs. And especially now, as cities reopen, “there’s a social cohesion goal that I think has only gotten more urgent,” she said. “Why not use projects like this to actually let people be involved, create a sense that public space belongs to everyone?”
The goals are to support local working artists, community groups, businesses and government on collaborative infrastructure projects to make streets safer; to activate public space in ways that are “as robust and reflective of local identity and aspirations as possible,” Ms. Levin said; and to promote community engagement, “because a streetscape isn’t theoretical, it runs through people’s lives.”
Janette Sadik-Khan, a former commissioner of the New York City Department of Transportation and now transportation principal at Bloomberg Associates, the pro bono consulting arm of Bloomberg Philanthropies, which advises mayors around the world. “Streets make up more than 80 percent of a city’s public space, so they’re really the front yards for millions of Americans.”
Three cities began or completed installations in late 2020: Kansas City, Mo; Saginaw, Mich.; and Norfolk, Va. The remaining 13 are expected to finish their projects this year. Through mid-May, the cities have transformed a combined 26,000 square feet of streetscape with artwork and engaged more than 1,500 residents and 72 artists in the design and installation process.
minority artists who will design vinyl wraps for 25 utility boxes throughout downtown. Troy, N.Y. intends to beautify an underpass.
“So many U.S. cities have underpasses that, whatever the original intent, turned into real barriers, and divided neighborhoods in ways that often aren’t very positive,” Ms. Levin said, expressing hope that the art projects “can create a gateway instead of an impediment.”
Teal Thibaud, director of the Glass House Collective, a nonprofit that works in an underserved neighborhood in East Chattanooga, Tenn., said even small improvements could help spawn others, especially in an area that had received limited infrastructure investment in recent years.
The Bloomberg-funded mural, completed in April, helped beautify the area, and several grants from local foundations, which increased the overall project budget to $60,000, enhanced the area in other ways.
A new street park next to the asphalt mural that created a safe gathering space, fence art to slow traffic near the elementary school, and painted stencils on sidewalks to encourage school children and other residents to follow the safest local routes were among the projects, said Ms. Thibaud. “We’re starting to see it all work together.”
Kansas City, Mo., redesigned a busy, dangerous four-way intersection where cars rarely stopped for pedestrians, said DuRon Netsell, founder and principal of Street Smarts Design + Build, an urban design firm that focuses on walkable communities. “People were just flying through the intersection, significantly over the speed limit.”
Midtown KC Now, a nonprofit local community improvement organization.
Soon after installation, foot traffic increased, overall vehicle speeds declined by 45 percent, street crossing times for pedestrians were cut in half, noise level dropped by about 10 decibels and the share of pedestrians who said they felt safe crossing the intersection increased to 63 percent from 23, Mr. Netsell said.
Bloomberg Philanthropies and Bloomberg Associates issued the Asphalt Art Guide, a free manual with tips, checklists, and case studies of successful projects around the world to encourage more cities to develop visual art projects. In March, Bloomberg Philanthropies announced a second round of up to 20 grants, open to all U.S. cities.
“Safety doesn’t have to be mundane and boring,” Mr. Netsell said. “We’ve proven that we can make our intersections and streets much safer, but we can also make them really fun and vibrant. It’s something that all local communities can do.”
As vaccination rates increase and businesses start to reopen, cities across the country are cautiously moving forward with economic recovery plans to coax workers back into offices and revive real estate markets pummeled by the pandemic.
Some midsize cities — like Austin, Texas; Boise, Idaho; and Portland, Ore. — may be poised to rebound faster than others because they have developed strong relationships with their local economic development groups. These partnerships have established comeback plans that incorporate a number of common goals, like access to affordable loans, relief for small businesses and a focus on downtown areas.
The partnerships are also encouraging investments in infrastructure as lures for new business activity. Last Wednesday, President Biden announced a $2 trillion infrastructure plan to modernize the nation’s bridges, roads, public transportation, railways, ports and airports.
“Recovery plans create an agenda for rebuilding the metropolitan area,” said Richard Florida, professor at the University of Toronto, who helped prepare a plan for northwest Arkansas.
Google, Microsoft, Target and Twitter about remote work, and some cities could see less office construction activity.
These challenges are not limited to midsize cities. Larger metropolitan areas like Los Angeles and New York are certainly in distress, but they have shown the capacity in the past to rebound from calamity. In San Francisco, municipal authorities said that there was no way to predict postpandemic construction activity but that expectations were high.
“This isn’t the first recession here,” said Ted Egan, San Francisco’s chief economist. “We’re expecting people to come back to the office.”
But the cities that have a strong alliance with business development agencies are expected to recuperate faster.
For instance, the Downtown Austin Alliance, a business development group, is convening focus groups and workshops, and conducting interviews and surveys to stir fresh interest in its downtown office market. Before the pandemic, 11 buildings encompassing roughly 3.5 million square feet were under construction, nearly half of all downtown office space.
Boise established a 16-member Economic Recovery Task Force made up of city officials, academics and executives of professional organizations. In September, it issued recommendations to “enhance economic resilience and agility.”
And the Greater Portland Economic Development District formed a partnership with the Metro Regional Government to prepare a plan to recover from the economic shock of the pandemic, which wiped out 140,000 jobs and shuttered 30 percent of the region’s small businesses. Among their recommendations is todirect funds and technical assistance to small businesses through local Community Development Financial Institutions, part of an affordable-lending program from the Treasury Department.
Some cities are already seeing success. A year ago, Boston abruptly suspended construction for nine weeks in an effort to halt the spread of the coronavirus. During the moratorium, the Boston Planning and Development Agency prepared a recovery plan that focused on reviewing permit decisions for major projects remotely. With its 250-member staff working from home, and in some cases outfitted with new software and digital equipment, the planning agency held 220 virtual public meetings and digitally reviewed architectural plans and land-use proposals.
“We identified a methodology to conduct our reviews and resume public participation,” said Brian P. Golden, the agency’s director. “Honestly, it worked better than we could reasonably have expected.”
The city approved 55 significant development projects last year encompassing 15.8 million square feet and valued at $8.5 billion, the most in Boston’s history. The largest was $5 billion Suffolk Downs, a 10-million-square-foot, mixed-use development with 10,000 housing units rising on a shuttered horse-racing track.
Tucson is also intent on resuming construction. Along with identifying sites for industrial development, the Sun Corridor recovery plan calls for resuscitating the city’s downtown.
The pandemic closed 85 downtown restaurants, eliminated 10,000 travel and tourism jobs and cut revenue in the sector by $1 billion. The antidote is to persuade city and county leaders to make loans and grants available to small businesses tied to the tourism industry, the focus of commercial space in central Tucson.
Mayor Regina Romero said the city was investing $5 million — $2 million more than last year — in the city’s tourism marketing group. Tucson also distributed $9 million from the federal relief legislation passed in March 2020 in grants ranging from $10,000 to $20,000 to small businesses, many of them in tourism.
“We’re working together as a region,” Ms. Romero said. “That’s one of the most important steps that we can take for the recovery.”
The challenges of the past year gave designers every reason to recede into the shadows, but creativity won’t be denied.
If anything, they are finding inspiration in global upheaval. From hundreds of possibilities, here are just a few examples we selected of projects begun or realized despite closed borders, disrupted supply chains and economic collapse.
Designers are recycling the rubble from Mexico City’s streets, for example, creating play spaces so Beirut’s children can find comfort in a city ripped apart by an explosion and proposing textiles as a building material to replace environmentally cruel concrete. More than just surmounting challenges, many are looking ahead to a greener, healthier and more equitable world.
Dadaï, a Thai, Vietnamese and dim sum restaurant that opened in August in the Shibuya district of Tokyo, takes its inspiration from the avant-garde Dada art movement — or at least a 21st-century Japanese interpretation of it.
A chevron, or zigzag, pattern covers the walls, floor and ceiling. Arched bays are filled with classical-style nude statues that look as if they’ve been ensnared in webs of washi tape. And at the center of the dining room, angled vertiginously over the bar, is a giant photographic portrait of a woman interrupted by collaged smears of color.
Located in the new, fashion-centric Miyashita Park retail development, the restaurant’s design, by Yasumichi Morita of the aptly named Tokyo studio Glamorous, makes no obvious concessions to a post-pandemic world. (Japan’s self-described “state of emergency” ended on March 21.)
Institute for Advanced Architecture of Catalonia in Barcelona designs a self-sufficient structure aimed at reducing the effects of climate change. But the class of 2019-2020 chose to take on another global crisis by imagining an architectural response to the coronavirus pandemic.
“We had two crises at the same time,” said Vicente Guallart, a director of the master’s program in advanced ecological buildings and biocities. “And the question was what we can learn about that.”
Over five months and under strict quarantine conditions, Mr. Guallart and his co-director Daniel Ibáñez led the group of 17 students in constructing an ecological wood cabin, known as the Voxel, a structure designed with everything one might need to quarantine for 14 days. The design was executed with just 40 pine trees, all harvested less than a mile from the construction site in Barcelona’s Collserola Natural Park. It also includes solar panels, independent battery storage and a rainwater collection and gray-water recycling system.
The roughly 130-square-foot cabin, which rises almost 14 feet, now stands nearly camouflaged among the same pines used to construct it. valldaura.net
17th-century home near Montpellier in southern France with a newly frescoed ceiling in his 250-square-foot bedroom.
The fresco’s single-named artist, Rochegaussen, had worked with Mr. Yovanovitch previously on a restaurant interior in London (he painted cutlery and cookware on a field of cobalt over the chef’s table). Given carte blanche for the bedroom, Rochegaussen arranged woodland animals in his signature energetic line — a motif Mr. Yovanovitch described as “a joyful Mediterranean dance.” The creatures were inspired by fauna from a Provençal forest and include boar, snakes and owls. The designer said that a refreshed environment helped him stay inspired, especially in a period of isolation. And, he added, “there’s something so special about looking up from bed and seeing a painting.” pierreyovanovitch.com, rochegaussen.com
branch institution in Tianjin welcomed its inaugural class of graduate students to a campus designed by Diller Scofidio + Renfro. Located about an hour outside of Beijing, the new 350,000-square-foot complex began construction in 2017 and features performance halls, rehearsal rooms and teaching studios, connected by a ground-level lobby that is open to the public. Expansive windows offer visitors a view into the educational and creative processes.
In China, “there’s still a sense of fascination and curiosity with Western music,” said Charles Renfro, the partner in charge of the project, noting that the building was designed to be a teaching aid for both students and the community.
As the building neared completion in early 2020, Mr. Renfro said he spent many evenings viewing video walk-throughs, trusting that the firm’s partners in China were meeting the precise specifications.
HMC Architects, and his colleagues recently completed a speculative design for a mixed-used project on the Lekki peninsula near Lagos, Nigeria. This relatively sparsely populated area in a region of more than 21 million people is being readied to accommodate millions more in the coming years.
Approached by an environmentally minded local developer who is seeking to acquire 400 acres on the peninsula, the architects envisioned a “forest city” with abundant greenery cleansing the air and a narrow street grid that allows breezes to slip past and passively cool buildings. Rain in the monsoon season would fill basins in parks and gardens. Shaded houses would have communal courtyards and reclaim the climate-responsive earthen materials and decorative patterns of precolonial people like the Yoruba.
an estimated 6,000 buildings, including more than 150 schools. This left Etienne Bastormagi, Sandra Richani and Nada Borgi, local architects and urban planners, wondering how they could help their city as children prepare to return to class.
Their Let’s Play initiative, will rebuild playgrounds at six schools affected by the explosion, with help from other architects and volunteers. Construction on the first, at École Secondaire des Filles de la Charité school in the Achrafieh district, just began.
The public-private initiative also reconsiders what a playground can be, incorporating materials, large-scale objects and landscapes that can be experienced or manipulated in more than one way. Rather than jungle gyms, swing sets or slides, the spaces will have colorful platforms, canopies and pathways that encourage directionless play. Such ambiguities are meant to promote experimentation and social interaction outside of the classroom.
The team also hopes that these new ways to play will help children confront the traumas of 2020, blast and coronavirus pandemic alike, by allowing them to feel safe again in their city. “The therapy effect is not just for the kids,” Mr. Bastormagi added. “I think it starts with us.” instagram.com/lets_play_initiative
Safdie Architects, the hospital opened in January with its more than half a million square feet (and more to come) oriented toward courtyards, gardens and a bucolic lake.
According to Sean Scensor, the project’s lead architect, greenery even determines how visitors move through the building: The main pedestrian corridor parallels a bamboo garden, and five wings stretch perpendicularly from this spine to carve out lush courtyards that open onto a lake. A “healing garden” accessible from the oncology department offers sanctuary in a grove of Indian lilac, red and white frangipani trees and scarlet-blossomed royal poinciana.
Visitors also can steal away to a glass-walled chapel tucked into a bamboo enclosure. The goal, Mr. Scensor said, was to avoid “institutional anonymity” in favor of a “new kind of hospital: highly efficient but inherently humane.” chsm.com
Yinka Ilori, a British-Nigerian artist, has spent the last year designing and installing affirmation-laced murals throughout the city — like one in which bubblegum-pink letters announce “Love always wins” against a backdrop suggestive of ice cream cones.
Mr. Ilori recently extended this “theme of positivity,” as he has called it, to table linens, pillows, rugs and socks sold through his website and a few retailers. The latest designs include bone china mugs and plates emblazoned with his chirpy slogans. This venture compensates for “a loss of projects during the pandemic,” he said. And then some. The line has proved so successful that he has hired additional staff members to manage it into a post-Covid future. Mug 45 pounds, or about $62; plate £70, or about $97. yinkailori.com
Shark Tank”) with his first commercial product: a lamp called Lumio that opens like a book. In October, Mr. Gunawan introduced on Kickstarter a second object that similarly trades in the thrill of the unexpected. Teno is a bowl-shaped sculpture, five inches in diameter, with a jagged golden scar — a reference to the Japanese art of repair called kintsugi. Crack open the bowl, and light pours out (it can be increased or dimmed with a tap). Open the sculpture fully, and it becomes a portable Bluetooth speaker.
MT Objects is a ceramics studio that turns out singular pieces referencing local craft traditions and the architectural splendor and battered infrastructure of its home base, Mexico City, and beyond. Thanks to a masked and socially distant pair of artisans employed by the studio, operations have continued throughout the pandemic, said Tony Moxham, a co-founder with Mauricio Paniagua.
In one recent series, slip-cast vessels were drizzled with black glaze in imitation of the tar used by the Totonac people who occupied what is now the state of Veracruz to represent “the moisture, fertility and darkness of the underworld,” Mr. Moxham said. Another collection, described as “brutalist,” is cast from sidewalk rubble and streaked with traditional colonial lead-based glazes from the western state of Michoacán.
“We wanted to create something that was very different from what everyone else was doing,” Mr. Moxham said. “And in Mexico City, almost any sidewalk you walk down has bits of broken concrete.” Prices range from $1,000 to $5,000 per piece. ceramicalamejor.mx/mt-objects
Aïssa Dione’s 2020 collection of textiles carries the vibrant colors and traditional designs of Senegalese handweaving, though reimagined in various sizes and with fibers like raffia, cotton and viscose. The fabrics are produced in Ms. Dione’s workshop in Rufisque, a town outside of Dakar, where she employs nearly 100 Senegalese weavers who work on looms. They are then sold to luxury interior design companies to cover sofas, armchairs and windows in homes around the world.
Ms. Dione’s 2020 collection also continues the textile designer’s nearly 30-year commitment to revitalize the craft and her continued focus on cultivating raw materials from Senegal, rather than importing them. Working locally and small helped her during a year when the pandemic exposed vulnerabilities in the global supply chain.
It also gave Ms. Dione a chance to develop a client database, organize photos of past work and shoot a film that captures her weavers’ process. “We had time to sit down and develop things we had no time to do,” she said. aissadionetissus.com
DeMuro Das, an interior design studio near New Delhi, unusual materials are a calling card. It has topped a coffee table in unakite, a speckled, metamorphic rock, and lined a cabinet in koto, a West African hardwood. More recently, the founders, Brian DeMuro and Puru Das, tried wrapping a low cabinet with the parchmentlike substance Carta, lending the piece a pretty, mottled surface, like asphalt after a rainstorm.
Pirjo Haikola, a designer in Melbourne, has 3-D-printed coral reefs that are on view at the art and design triennial at the National Gallery of Victoria.
Anna Aagaard Jensen, a Danish artist, and a wig-like lamp by Laurids Gallée, an Austrian-born designer. The lamp is part of a lighting collection, curated by the Brussels dealer Victor Hunt, titled, appropriately enough, “The Lights at the End of the Tunnel.” May 28 to 30. collectible.design
Nobel Prize Museum in Stockholm and the curator of a show about the banquet that revels in bespoke table settings, secret menus, eye-popping floral arrangements and glossy evening wear. Timed to open with the — ultimately canceled — 2020 event, it is fully installed and ready for visitors whenever entry is deemed safe.
The show reveals the banquet as a stage for perfectionism — a chance to source the ultimate raspberry for a dessert or prepare the most challenging potato dish.
But it also highlights modest gestures, like the time in 2018 when Victoria, the Crown Princess of Sweden, recycled the Nina Ricci gown her mother, Queen Silvia, wore to the event in 1995.
“She looked fantastic in it,” Ms. Ahlvik said, though the princess is taller than her mother. “We were all wondering how she did it.” nobelprize.org