Time for change after the coronavirus pandemic

I’ve taken to keeping a daily diary in isolation – though I suspect I’m not alone here. Most of us locked up our diaries to collect dust in the attic when we left our teens. Its job was complete, navigating those unpredictable and impressionable years. This pandemic needs its own navigation. For many, cocooned in the safety net of the western world, trauma of such scale, the human loss, the fear of the unknown, are new. Some have witnessed wars and displacement (I saw some of this) but for many, the memory of war is from grandparents’ stories, from the movies, from The Diary of Anne Frank. The more contemporary events are events – they happen somewhere else, captured in a photograph, an article, noted and then gone.

This coronavirus pandemic has the gravitas of a world war. And there is something unifying in its global-ness. We’re all in it together, feeling one another’s pain, understanding each other’s fears. And equally terrified and helpless. Yet, the reality of the loss of lives and livelihood, the surreal nature of the lockdown – these need to undergo some sort of daily navigation. And so, the daily diary has re-emerged, with slightly less self-absorbed content and with a finer quality Japanese fountain-pen, ink, and paper.

It contains intimate details of the cherry blossoms that have doubled since yesterday in the local park where I take my daily walks. The hazy morning light brightening in the unusual April heat. London’s clear skies. The silence in the air. The orchestra of bird songs – some of which are new melodies in a city cleansed of air and noise pollution. The hungry bees populating the garden. Spiders weaving their architectural webs. The house cheese plant cuttings coming to life in their containers. The life of spring.

I observe the teenager across the lawn in the neighbouring house slouched in his backyard, headphones on, absorbed in his world, possibly thinking of his school friends, maybe even a girl, or boy, whom he cannot see for months. Months that are years in the teenage world. I watch the man in the park dry fly fishing. It looks surprisingly elegant. I mourn the elderly neighbour no longer with us, not for the virus, but another illness that took him in silence in the midst of this chaos. I hear another neighbour signing, alone but with her church choir via Zoom or Skype for Easter Sunday. I try not to listen to the ambulance and police sirens moving across our road, slowly fading, perhaps another tragedy in offing. Then silence and stories in my own mind.

Mostly, my diary pages are filled with ideas of how these monumental episodes offer the chance of renewal. Why not use this golden gift of silence to rethink our cities? With the High Street closed, I’m reminded of how little we need to live well. There are the essentials, of course, but do we need all this ‘stuff’ designed for desire? Observing families in the parks, should shopping be the default for entertainment? Equally, the pandemic is highlighting the precious value of time with family and friends, the social factor in being human. It is humbling watching communities come together to help one another with such dignity, and formal work rivals offering assistance. Perhaps our cities could focus less on empty consumption and more on places for people, for communities to grow, for this unified spirit to continue.

Equally, observing London with minimum cars and transport, do we need to be constantly moving? Walking through Hyde Park and onto Buckingham Palace, there is so much beauty in this city without clutter. Why should cars drive through parks? Why not pedestrianised central London and offer electric trams and the kind of clean driverless pods we have been discussing for years? The products are there. The technology is there. The infrastructure is largely there. It all just needs a push.

We now see that many businesses can function perfectly remotely. Why not rethink the tired work arrangement, the largely unchanged office format? Judging by the conversations I’m having with most colleagues, especially those in public relations and communications who are now working from their home offices and shed, I see such creative thinking from individuals who usually follow the corporate line. I suspect there will be more productivity, more interesting work emerging from this new way of working.

The world could benefit from working together progressively. This pandemic is proof of that. Watching the devastation caused to less fortunate countries, and watching ours largely surviving through state intervention, should it not encourage a more active state? Surely, we can now see the value in investing ever-more in our national health system – instead of systematically starving it. Equally, seeing how more deprived communities are suffering largely due to underlying health issues, isn’t this the time to discuss inequality, education and more? Even capitalism knows it cannot survive in its current grossly unequal state.

Within this adversity, we see families reuniting in parks, teenagers cycling with their parents, no iPhone in sight. Couples jog together absorbed in conversation. Maybe they are revaluating their life, their fast world. Perhaps they are rethinking their careers, ditching the corporate life for something more real. I suspect much of this thinking will be gone by the end of the pandemic (assuming there is an end). Yet, dear diary I hope this episode changes our collective perspectives, that we each see our individual responsibility to help make this world a better one not for a handful, but for all. That is not a tall order.

Brave new word: Reflections on 2019, predictions for 2020

Needless to say, it has been a turbulent introductory decade to the new millennium with so much profound change and so many challenges ahead. Yet, even as dark as it is politically around the world, and hopeless as it feels with our planet’s health and our people’s happiness, we may have climbed the steepest part. Joan Didion wrote, ‘I write entirely to find out what I’m thinking, what I’m looking at, what I see, and what it means.’ Great words. I’ve been writing most of my life, and the decade gone has been the most challenging and possibly exciting. In particular, the last twelve months have pushed me to explore beyond my comfort zone and to stay focused despite the chaos that surrounds us. It is equally terrifying and thrilling visiting new people and places, discovering new ideas and worlds that shift the mindset – question the dogmas. 

So, what have I learned? Our lives may not look quite the dystopian vision pictured by the 1980s films ‘Blade Runner’ or ‘Running Man’. Many of us live in homes with doors and windows and refrigerators, and still, drive rectangular cars with four wheels and a conventional engine. But our homes and refrigerators and cars talk to one another and with bigger forces. And, in the way these plots predicted, corrupt elites around the world are gaining power over hopeless populations through media manipulation. The films all have happy endings though.

Extinction Rebellion at the V&A uses bold graphics that are universally understood

This year I met visionary artists, architects, designers, scientists, musicians who are collectively pushing their creative forces to find better solutions for how we live, drive, learn, wear, eat. I drove some conventional motor cars, relics of a bygone era, almost dinosaurs unwilling to give up pleasure when it is clearly killing our planet. I met self-congratulating architects and designers reluctant to part with their egos, still creating work with little social relevance. But then, I also experienced hugely progressive design – community-building, socially-engaged housing projects, and transport ideas envisaged and created by generations embracing change.

Lautre riveimpressions cyanotypes disparaissant progressivement à la lumière du soleil,Irak, Syrie, Turquie, Grèce, Allemagne, Danemark, France, 2011-2017.
Émeric Lhuisset’s ‘L’autre rive’ depicts scenes of the sea where many migrants vanish

Look beyond the headlines and there is much progress out these. Women in art and design are finally getting noticed – as was evident in the number of powerful exhibitions dedicated to lost females of creativity. Vehicles coming off production lines are cleaner, safer and smarter. They may not conjure up the immediate visceral joy of the motor car in its golden age, but why should that matter? Why can’t they instead have their own language to express the new era of clean transport – this brighter future ahead of us. There is huge visceral joy in that. Likewise, with the global population expected to increase to 9.8 billion by 2050, we have to rethink urban planning, architecture, and design, examine health (physical and mental), produce and food, work towards a green economy. And there is excitement in all this. We need to step outside the nostalgia lane and shift our attitudes.

Goldsmith-Street
Mikhail Riches Architects, Cathy Hawley’s RIBA Sterling Prize-winning social housing project

Which brings me to another subject which will increasingly shape the world in this coming decade: movement and migration. Kwame Anthony Appiah writes, ‘cultures are made of continuities and changes, and the identity of a society can survive through these changes. Societies without change aren’t authentic; they’re just dead.’ Towards the final days of the 2010s, I met with a visual artist concerned with the narrative given to the refugee. I am always amazed at how a term, a simple word, can alter the image of a displaced people: émigré, migrant, immigrant, refugee – the first carries such romantic notions, the last such demons. Émeric Lhuisset’s work is a critique of a global culture where facts and truths are in danger of losing all meaning. He offers an alternative story to media photography of war and migrants, with its immediate yet temporary digital age shock value. His is about the power of a photograph, of art to influence humanity’s collective consciousness.

Michael Anastassiades: A Fountain for London
Michael Anastassiades’s ‘A Fountain for London’ are site-specific drinking water fountains

My predictions for 2020? There are huge challenges ahead of us as we figure out how to balance the physical and digital world – how much of our privacy and freedom to give away for security, how to shift our attitude and lifestyle to help better this world, how to be more generous with ourselves and our skills, and towards our planet. And we all need to be involved and be held accountable. Too many rely on others to make things happen. And we need a certain amount of optimism. I am convinced more than ever that, to borrow from the words of another great female Louise bourgeois, ‘art is the guarantee of sanity’. Here’s to a new decade of possibilities.

Take a look at my articles in Forbes Life and Wallpaper*.

Top car creative partnerships of 2018: Art, design and architecture

Car cultural collaborations have to be relevant to our time and to the brand, otherwise they can feel a touch ornamental. As the industry dips its toes ever-deeper into the creative world, eager to build brands based on not just vehicle sales but offering a broader lifestyle, here are my top art, design and creative collaborations of 2018.

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Best car designs of 2018: Luxury, clean, autonomous

It has been an interesting year for the motor car as the auto world navigates the post-petrol age. Whereas sustainable driving used to mean compromising on style and performance – think the awkward-looking G-Wiz – it appears we need not lose much, if anything, from the golden age of the motor car. As it happens, electric cars are an awful lot of fun to drive and the new mechanics allow for a great deal of creative imagination. Here are my top car designs of 2018.

Design Talks | The Textile Building | 29a Chatham Place | London | E9 6FJ | UK
Design Talks is published by Spinach Design
All rights and labelled images are covered by ©