Exploring the intersections between architecture, walking, and economic development
By Lorenzo Bona
Introduction
As the transition from spring to summer unfolds, society undergoes a transformative shift, with many individuals who appear to embrace outdoor activities with renewed enthusiasm.
In this sense, it seems to become more noticeable the inclination of many individuals to spend more time outside their homes, opting for walking as a means of commuting to work and appreciating nature and the built environment.
In parallel, this seasonal transition appears often to coincide with increased construction or renovation activities in residential and commercial spaces.
This scenario may stimulate reflections on the relationship between architecture and the human activity of moving on foot, suggesting lines of reasoning that go beyond typical observations centered on the traditional impacts of the architecture and construction industries on economic growth and the recognized health advantages of walking.
From this broader perspective, it appears interesting to reflect on the significant economic development potential inherent in the creative sector and the interplay between architecture and walking.
The creative sector and its economic potential
The creative sector largely revolves around human talent and the creation of highly innovative products and services.
At its core lies the complex concept of culture – an amalgamation of largely abstract elements, like beliefs, habits, customs, and artistic expressions that shape our societies and their economic trajectory.
When approached from economic perspectives that emphasize the relevance of social aspects like rules, norms, and beliefs it becomes evident a distinguishing feature of the creative sector: its remarkable ability to produce special types of goods that many economists call cultural goods.
Unlike standard economic goods, such as apples, whose consumption by one individual diminishes the availability of the same good to other persons, cultural products – like a painting (e.g. Picasso’s “Dove of Peace”) or a sculpture (e.g. Statue of Liberty) – possess a unique quality that encourages shared enjoyment and ongoing creativity.
In other words, the simultaneous consumption of cultural goods, like watching a movie or listening to a song with others, often produces new ideas, forms of creativity, and cultural expressions, generating enrichments in individual and collective experiences.
This possibility holds great economic relevance.
First, it goes beyond traditional economic growth notions, which focus solely on increases in the quantity of goods and services produced without considering broader social factors, like literacy or public health, which greatly impact people’s well-being. Second, it highlights the impact of cultural factors on efficiency and equity objectives, shaping the evolutionary trajectory of societies and their economies.
For instance, cultural products often incorporate abstract aspects like traditions or values that tend to reinforce the relevance and persistence of various scenarios such as those emphasizing the value of beliefs like trust or respect for others or qualities like fairness or inclusivity.
In this regard, within the realm of economics, two main types of suggestions have emerged in closely interconnected ways.
On the one hand, situations that emphasize the importance of beliefs like trust or respect for others can aid individuals in reducing transaction costs and enhancing the efficiency of exchange relationships.
On the other hand, environments that promote qualities like fairness or inclusivity can help maintain cohesion among individuals and optimize the utilization of human talent. This, if in harmony with the logic of competitive markets, minimizes the risks of economic decline and supports sustained productivity and collaboration.
In essence, the intangible nature inherent to cultural goods or products may significantly contribute to the emergence of situations or contexts that can help societies push forward the frontiers of economic development.
The dynamic world of the architecture industry
The architecture industry, alongside other economic realms like advertising, design, music, and filmmaking, represents a fundamental part of the creative sector.
From an economic standpoint, this industry appears to be largely characterized by its focus on both abstract concepts, such as the notion of beauty, and tangible elements like construction materials.
Through a combination of creative skills and abilities in mastering construction technologies, this industry excels in the conception, design, and construction of various buildings and structures.
Moreover, the architecture industry appears to be a context characterized by the coexistence of many and largely diversified economic actors, ranging from architects and interior designers to construction companies and builders, all of whom contribute directly or indirectly to its growth and evolution.
This situation is also reflected in the presence of various business models, from multinational corporations to small firms, and independent professionals, each playing a fundamental role in shaping the industry.
In this light, entrepreneurship appears to be an intrinsic aspect of the nature of these diverse actors, reflecting a shared willingness to take risks and solve complex problems.
This entrepreneurial spirit drives innovation and fuels the continuous advancement of the architecture industry, producing beneficial effects also for the growth of modern economies.
Furthermore, considering the inclination of architects, builders, and designers to create buildings and structures that convey or reflect social beliefs and values, it can perhaps become clearer why the architecture industry is commonly recognized as a fundamental part of the creative sector and a key player in cultural goods production.
Walking as a cultural expression
Walking may be viewed as a largely common activity for human beings, and perhaps because of this, its significance appears to be often overlooked or reduced to its health benefits, even if other aspects may also deserve attention.
For example, interesting streams of research that focus on the nature, meaning, and value of art may invite us to consider innovative practices developed by some artists known as walking artists like Richard Long, Michael Hoepfner, and Antonio Rovaldi*.
Some of the main ideas that seem to emerge from the recalled stream of research, could be perhaps reorganized as follows:
• walking artists tend to utilize the activity of moving on foot as a medium for artistic expression, approaching it from a multifaceted perspective;
• the creative works of these talented individuals seem to mirror a tendency to view walking not only as a physical activity but also as a means of sensory exploration and a tool for discussions on space and human experience;
• by embracing this perspective, walking artists not only appear to stimulate introspection on personal experiences but also create new possibilities for unconventional interpretations of urban environments;
• through their creative works, they often portray the inherent slowness of walking, opening new avenues for exploring various conceptual perspectives: these, for example, may gravitate around a sort of criticism against excessive celebrations of the contemporary ideas of efficiency and productivity, or may revolve around proposals for imagining novel spatial and bodily experiences free from the limitations of sight and hearing.
In addition, other research streams**, which perhaps may be viewed as more closely aligned with the topic of this writing, have explored the connections between walking and architectural spaces. In this sense, the activity of moving on foot in urban contexts or other humanly designed and built spaces, usually characterized by slow movements, would encourage contemplation of the intricate details within the built environment. Moreover, given the relationship between walking, time, and change, this activity would help stimulate questions not only about existing buildings or architectural spaces but also about urban structures or spaces that may appear abandoned or marginalized.
Consequently, walking could be interpreted as a valuable cultural framework for organizing thoughts and facilitating discussions about architecture and its surroundings.
Concluding thoughts: walking, architecture, and economic development
The proposed analysis of architecture and walking reveals several interconnected aspects. Both activities appear as deeply intertwined with the themes of culture and creativity, highlighting the role of human talent and innovation in shaping the built environment and cultural experiences.
Just as the work of architects can go beyond constructing buildings to create spaces that express social values, walking through and around urban environments or other humanly designed and built spaces has the potential to transcend its physical act to become a powerful cultural framework that enhances our understanding of the world. Like architecture, the activity of moving on foot has the potential to invite reflection, sensory exploration, and discourse on space, time, and the human condition.
Together, these aspects seem to underscore the rich interplay between architecture and walking, offering insights into their profound impact on the evolution of urban life and economic development.
Notes:
*As for an example of the recalled streams of research consider the perspective expressed by the Italian scholar Luca Vargiu in an interview that appeared on this website, on the 16ht of September 2023, with the following title: “Can the art of walking help the emergence of more sustainable cities? An interview with Professor Luca Vargiu”.
** See, for example, Anderson, C., Karmon, D., “What does the extraordinary activity of walking upright bring to the study of architecture”, The Architectural Review, 12 October 2015.