built

Colorado Court is a 5-story, 44 unit single room occupancy apartment complex for low income tenants in Santa Monica. It is also one of the first buildings of its kind in the United States that is 100% energy independent, generating nearly all its own energy for electricity, heat and light.

Architectural Review, November 1, 2002:

“In both siting and form, the building has been designed to exploit passive environmental control strategies such as natural ventilation, maximizing daylight and shading south-facing windows. But it also incorporates a number of innovative energy generation measures, notably a natural gas-powered turbinecum-heat recovery system that generates the base electrical load and services the building’s hot water needs. Photovoltaic panels set in the walls and roof supply most of the peak-load energy demand. This co-generation system converts natural gas into electricity to meet the building’s power needs. The same system also captures and uses waste heat to produce hot water and space heating for residents throughout the year. Unused energy from the photovoltaic panels is returned to the grid during the day and retrieved at night as needed. The architects estimate that these energy generation and conservation systems will pay for themselves in less than 10 years and annual savings in electricity and natural gas bills should average around $6000....

Details such as fluorescent lights which automatically extinguish when a room is not in use, insulation made from recycled newspapers, a bike store, CFC-free refrigerators and a trash recycling room reinforce the evangelical message. As many of the technologies are relatively unproven, it is hoped that in its intelligent exploration of the potential of sustainability, the building will act as a successful demonstration project for developers, planners, politicians, architects and, most especially, the wider public.”

The apartments themselves are 375 square feet studios with a kitchenette and a small bathroom. Shared areas include a lounge, laundry, and courtyard.

The project falls under Santa Monica’s “Sustainable City Program” which tries to reduce electricity and water consumption, and install photovoltaic cells on in public and private projects.

Los Angeles Times, June 26, 2001:

“A host of public and private entities—including the cities of Santa Monica and Irvine, Southern California Edison and the California Energy Coalition—are involved in planning, funding and monitoring the innovative building. The two cities, the conservation group and the utility have formed a group known as Regional Energy Efficiency Initiative, which has contributed about $250,000 to energy-saving devices in the building. In addition, Santa Monica itself is contributing about $250,000 toward electricity generators.

The building will be loaded with energy-saving and environmentally benign or ‘sustainable’ devices. Heat from the micro-turbine will produce hot water, eliminating the need for a conventional water heater....

Prevailing breezes will cool the building, which will have no mechanical air conditioners. The U-shaped structure ‘acts like a giant wind scoop,’ said architect Larry Scarpa, a principal of Santa Monica-based Pugh & Scarpa.

In yet another ‘green’ flourish, the building will collect all the rainwater from the alley behind the property and funnel it into a series of underground chambers. The water will slowly percolate back into the soil, which will filter the pollutants from the water while preventing contaminated water from spilling into Santa Monica Bay. The drainage system was paid for separately by the city of Santa Monica.

The concept of a building that would be energy self-sufficient emerged about two years ago, when Santa Monica officials met with members of the California Energy Coalition. The city’s Housing Division, which funds construction of low-income housing, chose to make a low-income housing project into a dream project of ‘green’ construction, and Colorado Court became the target.

‘We needed a demonstration project because a lot of developers feel that the technologies are unproven,’ Raida said.

A number of apartment buildings in Santa Monica and Irvine are to be equipped with energy-saving technology by the Regional Energy Efficiency Initiative, but the Santa Monica building is the only project attempting to provide its own power as well.

Rebates from the state Energy Commission helped defray the high cost of the energy-generating equipment. The state’s rebate on the solar panels, which cost about $225,000, will be about $62,000. The $57,000 micro-turbine and heat exchanger will yield a $15,000 rebate from Southern California Gas Co.

If recent research and development has yielded new ways of conserving energy and producing electricity, regulations and building codes have not kept pace.

In one instance, architects had to obtain special permission from the city to hang solar panels outside the exterior stairwells because building inspectors said the solar panels ‘enclosed’ the stairwells and triggered requirements for floors, ceilings and fire-rated walls.”

Santa Monica Mirror, December 6-12, 2000:

“[Architects] Pugh Scarpa Kodama and the Community Corporation have been working with the City of Santa Monica and Southern California Edison to come up with an ‘incentive-type’ plan, which would allot a certain amount of energy to each resident per month, and would award those who did not use the full amount with rebates on their energy bills....

Colorado Court’s units will rent for between $316 and $365. They will be available to low-income residents culled from the Community Corp’s waiting list, who meet the low-income requirements for this building. Twenty-two units will be rented to people making less than $12,775 yearly, another 22 to those making less than $14,600 yearly (these figures are based on 35 - 40% of the current median income of $36,500). According to Raida, the typical demographic for a building such as Colorado Court would include full time workers earning minimum wage, and people on fixed incomes such as retirees and the disabled.

The Community Corp’s waiting list currently numbers over 1,000 people.”

It’s great that the org’s and the city could pull together $5.8 million to build high-tech, green, low-income housing. But, experimenting on the poor for their demonstration project? Is this the flip side of environmental racism? Get some low-income tenants to live inside your the unproven technology? No air conditioning in Southern California? An experimental powerplant in the basement, and less-than-fire-rated exterior walls... that cover a fire exit? Evangelical indeed.

From Boston IndyMedia:

“On the evening of May 20, Direct Action anti-authoritarian activists from the White Mountain Autonoma, AnarchoNinjas, and the Trained Monkee Collective came together to ‘tag’ every pay phone in Nashua, NH with a sticker that reads, ‘This Phone is Bugged’ in large letters, citing the relevant section (Section 215) of the Patriot Act 2001 authorizing this in smaller print. An example of the stickers may be viewed at http://www.crimethinc.com/cards/28_med.gif. The stickers are placed upon the telephone receivers.

Intended to create situations where the average mass media-deadened citizen of Nashua is confronted with the current political reality of life under Bush II and his attack dogs of Homeland Security, Nashua was chosen as the introductory site for ‘Operation Wake The Fuck Up’ due to its large population, strategic location on the NH-Massachusetts border (thousands of Bay Staters shop in Nashua daily to avoid Massachusetts sales tax), and the critical role it plays in the NH Presidential Primaries as the first large population block to report its’ poll returns.

There are approximately 400 pay phones in Nashua, locate in the various shopping malls, pubs, public buildings, stores, restaurants, and hotels - including the 8 pay phones in the lobby of the Sheraton Tara, preferred home-away-from-home for Bush II when in the greater Boston area, due to its isolation and ‘security’.

Additional activities are planned for the near future, including mock ‘stop-and-search’ actions, imitating the activities of Homeland Security and its componant bureaus and agencies. These will be very similar to the mock ‘search-and-destroy’ missions used to great effect by Vietnam Veterans Against The War during the anti-Vietnam War years, in which activists, dressed as ordinary people, are pulled out from the innocent spectators and are mock-abused in true government style.

Activists wishing to join the fun may contact the White Mountain Autonoma at wma@datasquire.net.”

Bush launched his presidential campaign just last Friday. The New Hampshire primary takes place on January 27, 2004, a mere 35 weeks from now.

Print out the stickers yourself or buy a pack online.

Thanks, American Samizdat

How do you turn massive liability into a premium asset? Green, green, green.

Take contaminated industrial brownfield, haul away 5 feet of poisonous dirt, add architecture and planning firm, solar heating, wind power, green roofs, gardens that extract pollutants from the soil, huge argon-insulated windows, a view of the coastline and Web accessible remote control.

Then stand back and marvel at the chic elegance of Tango, a designer housing complex in Malmo, Sweden. The complex also recycles its waste water into a rebuilt marsh ecology that mimics the development’s east side, the marshy ecology of the sound. In passing the article mentions that the construction methods and materials were “hewed to ecological building standards that Malmo had set for the district.”

It’s all very geeky and cool, but I look forward to the day when sustainable design is boring and mandated outside of northern Europe, too, not just left to showcase projects that benefit those that can rent at three times the market rate or that make great PR when they pave over industrial contamination.

The Washington Post reports on the demise of the payphone:

“In Washington, as in other parts of the country, pay phones are disappearing from the landscape. The number of them across the country has dwindled from a high of 2.7 million in the mid-1990s to about 1.9 million now, supplanted by the more personal wireless phones that fit in a pocket. The small companies that maintain them are pulling out of the business. Even at the higher price of 50 cents a call, many phones run at a deficit — it costs more to clean, maintain and service them — so people like [technician Andres] Castro are yanking them from their sockets, cutting the lines, and pulling them from shopping centers, gasoline stations, restaurants and street corners where they used to turn a booming profit.”

The Globe and Mail reports that instead of dismantling its pay phones, Bell Canada has started adding WiFi capabilities:

“Aimed at business customers, the service is free until late March and available at several sites in Montreal, Kingston, Ont., and Toronto. The project will also include service at Air Canada airport lounges in Calgary, Montreal, Toronto and elsewhere. The pilot project is intended to measure how customers use the service and how much to charge for it, although some observers wonder if service providers will be able to make much money from so-called wireless fidelity or wi-fi hot spots. For Bell’s hot-spot trial, it’s mostly setting up wi-fi nodes where it has payphones, effectively ‘reinventing’ the payphone business.”

In the United States, massive amounts of cash are being thrown at building a nationwide wireless infrastructure. Adding WiFi to payphones is picks up on an exisitng infrastructure. From Bell Canada’s press release:

“The plan calls for payphones in high traffic areas to be fitted with Wi-Fi technology; typical locations include airports, train stations, hotels, convention centers and corporate campuses.”

Adding WiFi to payphones would be a good way of brining WiFi to underserved neighborhoods — the same neighborhoods that rely on pay phones rather than cell phones.

From the Post again:

“It is much easier — and cheaper — to dial from a cell phone for customers who can afford one. However, pay phones are still profitable in the lowest-income areas of a city, said Terry Rainey, president of the American Public Communications Council Inc., an industry group representing independent pay phone operators around the country.

‘There are a great number of people in this country without a phone,’ Rainey said — 4 and 5 percent, which is more than the 1 or 2 percent of the U.S. population that lacks television sets.

‘Some lower-income areas rely on [pay phones] for regular communications, as well as, in some cases, emergency calls,’ said Mason Harris, president of Robin Technologies and of the Atlantic Payphone Association.”

Compare this map of median household income from the 1990 U.S. Census with this 2002 map of WiFi hotspots in Manhattan. From the Public Internet Project:

Click here for a larger version.

Update: On May 10, 2003, the New Jersey Star-Ledger reported that Verizon plans to put WiFi transmitters in pay phones across New York City. No mention of how much it will cost to use.

Also of note is this May 5 article from the International Herald Tribune which describes plans by the city of Paris to build a WiFi network along the subway system. Two or three antennas could be places outside each of Paris’s 372 Metro stations.

“Great is the empire that we defied, but greater than this empire is our right to freedom.”

Happy May Day and saludos to the people of Puerto Rico and all who struggled to push the U.S. Navy out of Viéques. At midnight last night, the Navy formally turned over its territory on the island to the U.S. Department of the Interior who will turn the bombing range and base into a wildlife refuge.

Tomorrow morning the people of Viéques will place a large cross on the former bombing range to commemorate those who have died as a result of illnesses related to the contamination of the site.

This 2000 UCLA map shows the geographic extent of the Navy’s territory on the island. Much of the west end of the island was transferred to the Viéques Municipality and the U.S. Fish and Wildlife Service in 2001, though this 2003 Navy map still minimizes their apparent footprint. “Live impact” in a “conservation area”?

Some images of resistance from around the Web:

Mural of Milivy Adams Calderón, a boy from Viéques whose death of cancer is widely seen as a result of the military’s contamination of the water.

View of crosses and sea from Monte David.

Mural at the University of Puerto Rico-Mayaguez. Photo by Javier Gonzalez Rivera.

Fishermen blocking US Navy military maneuvers off of Viéques.

Protestors hang banners from the Statue of Liberty, November 6, 2000.

March for the release of political prisoners, September 29, 1999.

More here.

King George III Joseph Stalin

The Shah of Iran Saddam Hussein

Unable to anticipate a clear surrender by the Iraqi government, on April 4 the Bush administration announced it’s vision of a “rolling victory,” “a strategy to declare victory in Iraq even if Saddam Hussein or key lieutenants remain at large and fighting continues in parts of the country.” Days later, the media run images of a statue of Hussein being toppled by U.S. marines and jubilant Iraqi’s.

...

A week later, protestors in San Francisco stage their own toppling of their own. A popular protest mimicking the Marines mimicking a popular protest, the protestors pull down a makeshift statue of President Bush in the style of Saddam Hussein’s.

...

And a week after that, protestors in South Korea topple a cardboard cutout of a statue of Kim Il-Sung.

...

Update: On July 3, 2004 the Los Angeles Times confirmed that it was Army psy-ops that toppled the statue of Saddam Hussein, not the Iraqi civilians shown on television.

Over a year ago I attended a lecture on design at the Cooper Union. The speaker projected a series of slides illustrating his minimalist design philosophy. One of the images was of the B-2 bomber. I was shocked and disturbed that a design philosophy would fail to take into account social, political, and economic contexts. Particularly of an object which, when used as intended, delivers massive death and destruction.

It prompted me to dig deeper into design and the public interest. And to start this Web log.

On evening of April 16, I arranged a panel discussion at Cooper titled “Design in the Public Interest / Design Against the War.” I invited three panelists to speak about their work as designers involved in the anti-war movement.

First up was Lee Gough, a printmaker, anti-war activist, and graphic artist based in Brooklyn, NY. She showed a series of prints from a portfolio-in-progress on the Iraq invasion and the war at home, called “The War Went Well.” Some of the images have been used in posters on the Web site Who Dies for Bush Lies“ and for Military Families Speak Out, an organization of people who are opposed to war in Iraq and who have relatives or loved ones in the military.

One image “Fight the War at Home” was inspired by a subway ride home from lower manhattan on September 11. Even as the towers had just been destroyed, there were still, as there had been for many years, homeless persons on the subway appealing to cityfolk to remember them, and to give. The image is a graphic reminder that some have been under domestic attack in our country for a long time, and that funds for the war on poverty pale in comparison to our “defense” budget. Another image, “Visualize Your Family Members Waging War” depicts a despondent soldier with a crutch being embraced by a woman. Lee’s expressive linocut style brings a gravity to the subject matter.

Lee commented on the challenges of choosing one’s message, for instance, noting the different context of “Bring the Troops Home” for troops that have been drafted vs. those who enlisted voluntarily.

One member of the audience raised the question of why U.S. flags and “being American” were the province of the pro-war movement, when large numbers of U.S. citizens were opposed to the war. I noted that I’d seen many anti-war demonstrators holding up flags and patriotism at rallies. On the Web, Who Dies for Bush Lies? effectively tackles effect of the war on U.S. soldiers and U.S. civilians, in addition to Iraqi soldiers and civilians. The danger was raised, though, of the rhetorical trap: the argument over who is “more American” can go back and forth forever, and quickly turning attention away from the crisis at hand.

Nancy Doniger has worked as an illustrator for almost 20 years, producing art work for newspapers, magazines, books, posters and T-shirts for both for-profit clients and not-for-profit groups. She is currently a member of Brooklyn Parents for Peace, for whom she created the “Say No to War Against Iraq” poster.

She also helped organize a community/family oriented workshop that gave kids and parents an opportunity to make anti-war art for protest marches. Adults and kids made signs and worked with a puppeteer to create a large paper mache dove, and lots of little doves held aloft on cardboard tubes.

Nancy showed some earlier examples of her work, including a forceful image against the FTAA, a stark two-color poster for a conference on the conflict in Israel and Palestine, and a bright, celebratory “Welcome Back to Brooklyn” poster.

She also showed a couple of iterations of the “Say No to War” poster. One implied the damage of war with flames, but the final version ultimately centered on the mass mobilization. She noted that, in contrast to other illustrations, her work on this piece progressed from representation to geometric abstraction to make the poster more inclusive, using large blocks of color instead of specific depictions of race and gender. She is currently working on a “Hate Free Zone” poster.

Nancy noted the effect of the “Say No to War” poster on her block. The block appeared to be a very pro-war, where “the flags are quick to come out.” But over time, the “Say No to War” poster began to appear in windows and doorways. I certainly noticed it up and down the block where my step-sister lives.

Nancy is also involved in upcoming anti-war event “WEARNICA.” Sponsored by Brooklyn Parents for Peace, on May 3, 2003 a group of artists will present original anti-war art executed on the backs of white cotton dress shirts. The shirts will be worn in public spaces around New York and the world. The event was conceived by Works on Shirts Project whose inspiration for the event came after Colin Powell insisted upon covering the tapestry of Picasso’s Guernica during his warmongering speech to the General Assembly of the United Nations on February 5, 2003.

L.A. Kauffman is a staff organizer for United for Peace and Justice and designer of materials to promote the February 15 and March 22 marches in New York City. Her sticker and poster designs United for Peace and Justice can been seen on the streets across the New York City.

Leslie arrived at design through her work as editor of a progressive journal. She was inspired by the bold, clear graphics of Gran Fury and ACT-UP, and the use of those graphics on the street and at demonstrations, stage managing the events to push its imagery into the mainstream media. She claims she can not draw, so uses clip art in her graphics. The image of the blue pennant flag and black group have become a ubiquitous the city streets.

The idea behind a worldwide day of anti-war marches came out of the European Social Forum held in Florence this past November. At the Forum, the date February 15 was chosen as a date for anti-war demonstrations “in every capital.” What transpired was unexpected and unprecedented.

United for Peace and Justice had only just formed in the November of 2002, but it wasn’t January the group started working on the February 15 march. “The World Says No” was the headline of the February 15 flyer design, accompanied by a list of cities taking part in the event. As news of the event travelled across the Internet, marches were planned in more and more cities. Leslie held up various versions of her February 15 design with more and more cities added. Ultimately, marches were held in 793 cities around the world on February 15. Of particular note is virtual absence of communication or coordination between the participating cities.

Leslie spoke of the focused purpose of the posters produced for the event: not to educated, but to mobilize. The flyers lack all superfluous text or argument, just the headline, time and place. The posters and stickers were not trying to change people’s minds, instead to reach out to people who were already against the war but had not yet taken action.

In addition to sticker and flyers, palm cards cut from 1/4 page xerox copies on blue paper were popular and successful. They are both cheaper and more effective — easier to stuff in your pocket, less burdensome on the counter tops of sympathetic shopkeepers.

For the February 15 march, 200,000 stickers were distributed in 5 weeks. For the March 22 march, 200,000 stickers were distributed in 3 weeks. Astonishing numbers, posted around town by a continual flow of volunteers through the office. It’s also a useful bench mark: this is how many it takes to spread the message. A month later, I’m still finding remnants of UPfJ stickers on walls and phone booths. Leslie noted the effect of thousands of little acts of civil disobedience for the spirit of protestors, slowly bolstering a spirit of resistance around in the City and specifically, against the police department ban on marching past the U.N. on February 15.

In total, 1.1 Million pieces of literature distributed. Almost all of the printed materials were bilingual: English on one side, Spanish on the other. However, materials were also produced in Korean, Spanish, French, Creole, and Chinese. Quite a few donations for all these production expenses came online via paypal.

The question was raised about the environmental impact of producing all those printed materials. Her response: it’s also better for the environment if the war is prevented.

Other examples of design projects were raised by members of the audience: a “Do Not Bomb Iraq” sticker to replace the “Do Not Lean On Doors” sticker in NYC subway cars; colorful logos, charts and imagery designed by Stefan Sagmeister for “Move Our Money,” a campaign to reallocate 15% of the U.S. military budget for education; and flyers handed out to tourists at ground zero with a graphic representation of the number of teachers aides that will be cut from City’s budget. The image leaves it to the viewer to make to the connection to the military expense of a war in Iraq.

Many spoke of the importance of New Yorkers being seen as against the war. September 11 was an attack on New York, and the war is being waged in our name. Others spoke of the urgency of independent media, and the challenge of reaching out beyond “preaching to the converted.”

Overall, I was struck by how spontaneous the designers’ actions were. In almost every case, the designers simply stepped forward and got involved: signs made for a rally were eagerly snapped up; hundreds of thousands of stickers eagerly taken and distributed; and, “Say No to War” posters popped up on an otherwise apparently pro-war street. It seems that one doesn’t necessarily have to change everyone’s minds. There are more “converted” than you think. They just don’t have the graphic materials to display yet.

About 50 people came to the event, a decent turnout despite the announcement from the Pentagon the previous day that “the major fighting” in Iraq was over... and the fact that I’d scheduled the event on the first night of Passover. (Such a Jew am I.) The arc of the event could have used a better closing at the end, as well as a better transition between panelists. I also noted the lack of diversity in the audience. I think next time, I should hold it at different time and place. I’m also quite pleased with the invite design. Peel off the event description and you’re left with an anti-war sticker. Many thanks to Photobition for helping hammer this out in time.

One purpose of the event was to connect artists, designers, and activists. I’m disappointed more Cooper students didn’t show, but after the event quite a few people milled around having these intense little conversations until I kicked everyone out to close the room and return the lights. And quite a few people asked me what was next. Perhaps the start of a new Committee to Unsell the War?

From the Encyclopedia of AIDS:

“The pink triangle was established as a pro-gay symbol by activists in the United States during the 1970s. Its precedent lay in World War II, when known homosexuals in Nazi concentration camps were forced to wear inverted pink triangle badges as identifiers, much in the same manner that Jews were forced to wear the yellow Star of David. Wearers of the pink triangle were considered at the bottom of the camp social system and subjected to particularly harsh maltreatment and degradation. Thus, the appropriation of the symbol of the pink triangle, usually turned upright rather than inverted, was a conscious attempt to transform a symbol of humiliation into one of solidarity and resistance. By the outset of the AIDS epidemic, it was well-entrenched as a symbol of gay pride and liberation.

In 1987, six gay activists in New York formed the Silence = Death Project and began plastering posters around the city featuring a pink triangle on a black background stating simply ‘SILENCE = DEATH.’ In its manifesto, the Silence = Death Project drew parallels between the Nazi period and the AIDS crisis, declaring that ‘silence about the oppression and annihilation of gay people, then and now, must be broken as a matter of our survival.’ The slogan thus protested both taboos around discussion of safer sex and the unwillingness of some to resist societal injustice and governmental indifference. The six men who created the project later joined the protest group ACT UP and offered the logo to the group, with which it remains closely identified.

Since its introduction, the ‘SILENCE = DEATH’ logo has appeared in a variety of manifestations, including in neon as part of an art display and on a widely worn button. It was also the forerunner of a range of parallel slogans such as ‘ACTION = LIFE’ and ‘IGNORANCE = FEAR’ and an entire genre of protest graphics, most notably including a bloodstained hand on a poster proclaiming that ‘the government has blood on its hands.’ Owing in part to its increasing identification with AIDS, the pink triangle was supplanted in the early 1990s by the rainbow as the dominant image of ‘gay pride.’ By force of analogy, however, the rainbow itself has, in some countries, become an image associated with AIDS.”

via ACT UP NY:

“There was also the SILENCE=DEATH Project, which was a group of men who had started meeting a year and half before [ACT UP was started], including Avram Finklestein, Oliver Smith, and Chris Lione. They were a whole group of men who needed to talk to each other and others about what the fuck were they going to do, being gay men in the age of AIDS?! Several of them were designers of various sorts—graphic designers—and they ended up deciding that they had to start doing wheat-pasting on the streets, to get the message out to people: ‘Why aren’t you doing something?’ So they created the SILENCE=DEATH logo well before ACT UP ever existed, and they made posters before ACT UP ever existed, and the posters at the bottom said something like, ‘What’s really happening in Washington? What’s happening with Reagan and Bush and the Food and Drug Administration?’ It ended with this statement: ‘Turn anger, fear, grief into action.’ Several of these graphic designers were at that first evening that Larry spoke.”

Big ’up to v-2.

“Last summer I postered the Lower East Side where I live with a series of faceless sweatshirt-hooded grim reaper figures. Lately heroin trafficing down here has reached epidemic proportions. Several of my close friends and colleagues have died from overdoses or HIV infections from dirty needles. Late at night, in an operation resembling a guerilla raid, I installed the Hoody posters on the perimeters of the drug copping zones. Besides the ominous ‘pause’ given passersby, I intended the Hoody posters as warning signs, promoting awareness about a deepening problem in my own neighborhood.”

Dan Witz, “Sending a message through Hummingbirds and Hoodies,” Public Art Review Spring/Summer 1995

Protestors after the march in New York City yesterday chalked messages around Washington Square Park.

As the U.S. invades Iraq and activists around the world take to the streets, here in New York I’m noticing how the city itself is increasingly used as a medium by the anti-war movement.

Much of this is nothing new. City streets have always been checkered with posters, graffiti, flyers, and stickers. Subway ads are often annotated with running commentary, sometimes sexual but just as often critical of the ad and advertiser itself (or just blacked out teeth on a too-cheerful model.)

The anti-war movement has taken advantage of all of this. United for Peace and Justice stickers seem to be everywhere — on pay phones, mailboxes, street lamps, walls, and signage. The letters “STOP BUS” on the street are altered to read “STOP BUSH.” In the Baghdad Snapshot Action activists have simply postered ordinary snapshots from Iraq: “Quiet and casual, the snapshots show a part of Baghdad we rarely see: the part with people in it.”

And then there was the march of over 200,000 people down midtown Manhattan yesterday.

But as the war escalates, so do the protests. And so does the reconfiguring of public space. Activists in San Francisco last week shut down traffic throughout the city with autonomous direct actions coordinated online. Activists hauled newspaper kiosks, cafe chairs and tables, and other street furniture into the streets. [article and photos]

What will be the government’s response? Some communities are all too familiar with locked down, fenced in, and video monitored public spaces. Once considered an invasion of privacy, cameras and other measures are increasingly justified as a legitimate response to terrorism. In the name of anti-terrorism, the City recently sought and won a loosening of the law that restricted on police surveillance of political groups. The restrictions were imposed by the settlement of a 1971 lawsuit over harassment of political advocacy groups by the Police Department’s so-called “Red Squad.”

Public amenities and the details of public life are being reshaped elsewhere in the fight against terrorism. In Israel, seating at bus stops is often bolted to the wall (no chair legs to hide things behind), every turnstile will soon have a metal detector installed, and every trash can on the street will be replaced with see-through plastic and wire receptacle. In Washington, D.C., subway trash cans are being replaced with bomb-resistant models. In the Tokyo subway, there are no trash cans at all anymore.

Not to mention Israel’s wall.

This week New York City announced Operation Atlas, additional security measures to try to protect us against terrorist attack during wartime. I’m not opposed to greater inspection of cargo entering the City, but have no doubt that the NYPD will use their new powers to target activists and political dissent. I also note that the plan, which costs $5 million a week comes at a time of severe budget cuts in NYC — and a deficit of nearly $4 billion. Was factored into the costs of the war?

Literature on cities is replete with the metaphor of public space as the site and the physical embodiment of democracy. In the weeks and months ahead, I wonder how our public space will change.

See NYC IndyMedia and Gotham Gazette’s page on New York City and the War.