The development of cities worldwide for the past several centuries led to the creation of infinite sidewalkless suburbs, commuter dominated highway systems, and neighborhoods full of strangers. Despite a greater reliance on the interconnectivity of the internet, our society is becoming increasingly isolated, in our cars, in our homes, and even in our workplaces. This shift from codependency to division contributes to a greater amount of our population suffering from depression and anxiety, and the number grows daily as many sink even deeper into the solitude instigated by the organization of our city systems. In order to reverse these effects, we must begin moving towards a more collaborative and mutually beneficial structure.The bases of a successful and sustainable utopia rest upon the functionality of human-centric design.
Andrea Zittel’s art is an excellent example of this noble pursuit to discover our purpose through the way we live. Zittel is an American artist from California who experiments with spaces, consumption, independence, self sufficiency, and human nature; her aim is to get to the heart of why we are here. Zittel initially began her work in an attempt to achieve complete autonomy, but she instead discovered that a sense of isolation comes with the peace of solitude. The experiences that she presumed would lead to her liberation ultimately led to a more restrictive and oppressive state of being, much like how the endless connectivity of our interstates and highways lead to hours spent disconnected from the world and isolated in our personal metal prisons.
Zittel’s art collection includes a series of comfort units one can live in which were inspired by breeding units originally designed to provide animals with everything they need to live. She created these units in order to rid herself of the restriction that variety imposed upon her. In the same vein, she created an artistic experiment in which she wore one article of clothing for an entire season in an effort to use continuity to highlight the nonnecessity of consumerism in a successful human-centric society.
Perhaps Zittel’s magnum opus is her Wagon Station Encampment located in Joshua Tree, California. This living experiment is open to the public, allowing artists, hikers, and researchers to facilitate social engagement as well as personal exploration. In order to build this oasis, Zittel worked with the land rather than against it, creating mobile spaces that facilitate creativity, serenity, and unity. Through her living project, she recognized the necessity of sharing her work with others, and this epiphany led to participating in moments of welcomed disorientation with strangers in an attempt to redefine the obligation of comfort in our lives.
Andrea Zittel’s living analysis of the intersection of art, architecture, space, and consumerism is just an introduction into the idea of utopian living. Around the world, other artists and innovative thinkers, including the Superstudio group established during the 1960s here in Italy, are pursuing the herculean task of developing communities that focus on urban design which caters to the humanity present in all of us.
Superstudio developed as a radical architecture group pushing back against the status quo of urban planning. The group aimed to dismantle uniformity in architecture and assuage the desire of consumerism as a means to achieve fulfillment. Their goal was design centered around people and not recognition from the masses for their work. Much like Zittel, the group explored what humans do and do not need to live a satisfying life, all the while speculating what has the potential to develop if we fail to look at the systematic pitfalls present in our neighborhoods and communities.
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