On Walter Benjamin, and the “Arcades Project”

Passage Verdue, Paris. Image: LPLT/Wikimedia Commons.

In 1940 a small group of refugees were turned away at the French-Spanish border. Having fled the Nazi invasion of France, they hoped to find safety in Spain. One of their number, a German-Jewish philosopher and writer, intended to have travelled onwards to America, where he would certainly be safe. So distraught was he by the refusal he met at the border that he took his own life.

The writer in question was Walter Benjamin, the prominent critical theorist who has contributed so much to our understanding of urban society, and he died with a manuscript close at hand. When asked previously if the briefcase of notes was really necessary to a man fleeing for his life he had replied, “I cannot risk losing it. It must be saved. It is more important than I am.”

The work that Benjamin died protecting was the Arcades Project. It was to be his magnus opus, intended by the author to illuminate the contradictions of modern city life. But it was never finished.

To Benjamin, the subject of the work, the arcades of Paris, were relics of a past social order, where consumerism ruled. The arcades were a precursor to the modern mall, lined with all sorts of shops, cafes and other establishments where visitors could buy into the good life. The area between these two lines of businesses was covered with glass and metal roofs, much like a conservatory: it gave visitors the high street feel in an intimate, sheltered and well-lit setting. You can still find examples of such places in modern London in the Burlington and Piccadilly arcades, both off Piccadilly.

Such arcades proved hugely popular, spreading across Europe’s capitals as the 19th century progressed. By Benjamin’s time, though, his type of shopping area was losing custom to the fancy department stores, and in Paris many of them had been obliterated in Haussmann’s city reforms of the 1850s and ‘60s. Whereas Parisians could once visit 300 arcades, now only 30 remain.

Through his research Benjamin started to see the arcades as representative of a pivotal moment in social history: the point when society became focused on consumption over production. Buying the latest fad product was just an opium, he thought, dulling senses to the true nature of the world. By bringing light to this, he hoped to wake people up from the consumerism of the 19th Century and bring forth some kind of socialist utopia.


He also warned that this shiny veneer of progress was hiding the true state of things. Instead, he revered crusty old cities like contemporary Marseilles and Moscow, where social life was more honest. In this way, Benjamin contributed to the intellectual movement focused on stripping away the excess of revivalism, standing alongside architects such as Le Corbusier. 

Through his newspaper essays throughout the first half of the 20th Century, Benjamin also became one of the first thinkers to focus on urban isolation. His suggestion that we can be most alone when among such a dense mass of other people is something many in modern cities would sympathise with. His work wasn’t all doom and gloom, however, as he saw cities as our salvation, too: laboratories from where society’s problems can be worked out.

It was 2000 before an English translation of the unfinished the Arcades Project was published, but by then the work had already had a significant impact. Just as he stood on the shoulders of giants such as Baudelaire and the Surrealists, modern thinkers have drawn on his work. Benjamin's concerns about common architectural forms can be seen to inspire modern architects such as Laurie Hawkinson, Steven Holl, Tod Williams and Billie Tsien.

The city of Paris itself was as much a part of the Arcade Project’s inspiration for Benjamin as was his intellectual predecessors. In his letters he repeats that it felt “more like home” than Berlin, and his days were spent marvelling at how the old and the modern exist together on the Parisian streets.

How groundbreaking the Arcades Project really was is hard to say. The fact it wasn’t finished certainly scuppered Benjamin’s plans to wake society up from its consumerist slumber, but that doesn’t make the work inconsequential. His fairytale of steel and glass is as much about the relationship between its author and Paris as it is a theoretical work. By putting the city as the main subject in human’s social history he laid the groundwork for future generations of thinkers.

Benjamin was lost to the tragic tide of the 20th century history, and his death marked the end of the project which could have changed the way we think of the urban landscape. Even if you shy away from the grandiose or don’t buy into his promises of socialist utopia, reading the work can still offer some eclectic factoids about 19th century France. At any rate, it must be acknowledged that the man gave his life to the betterment of society and the cities in which we live.

 
 
 
 

Wild boar are moving back to Genoa, and not everyone is pleased

A wild boar, c1933. Image: Getty.

Crossing the Ponte Gerolamo Serra in the Italian city of Genoa, I spotted a small crowd clustered by the river wall. I approached, intrigued, and peered over the wall to discover the subject of their delight: a sounder of eight wild boars – the adults sheltering from the heat in the undergrowth, while the juveniles foraged among the foliage that grows in the river bed during the dry summer months.

In any other city, such a sight might have been surprising. But in Italy, and particularly in the region of Liguria, where Genoa is located, the population of wild boars has been increasing at such a rapid rate that these incidents are now common. Across the country, it’s estimated that the population has risen from 600,000 to 1m over the past decade.

But while wild boars may look comically out of place trotting about the city, it’s actually a natural result of the way people have migrated – and the wars they have fought – over the course of recent history.

Making a comeback

A species native to Europe, the wild boar (or “cinghiale”, in Italian) largely disappeared from its historical territories during the 18th and 19th centuries. Their decline was widely attributed to the combined effects of habitat change, competition for space and resources and, of course, hunting.

Wild boars were a prized quarry, revered for their ferocity – and the danger involved in pursuing them. According to local folklore from the region of Liguria, the last truly wild boar was hunted and killed in 1814, in the province of Savona.

After an absence of more than a century, wild boar began to return to Liguria, and to the neighbouring region of Piedmont. A further influx occurred during World War I, when it’s believed that military activities in the south-east of France forced parts of the population back into Italy over the Alps.

Although hunting fraternities were quick to augment this fledgling population with wild boars transported from elsewhere, the return of the species was primarily due to natural causes. From the 1950s onwards, traditional agricultural practices were abandoned as more and more people moved from rural towns into the cities. This meant that large areas of formerly cultivated terraces and pastures were rapidly overgrown, fast becoming dense secondary woodlands.

A city gone wild

This spontaneous “rewilding” has become a controversial issue in the region. Many conservationists and environmental organisations consider the region’s return to a “wild state” a success. But others believe that the encroaching wilderness signals a loss of traditional woodland knowledge and a reduction of biodiversity, associated with the pastures and meadows.


The province of Genoa is among the areas most densely populated by wild boar in Italy, with an estimated 25 boar per 10km². Rewilding processes have brought woodlands to the city limits, blurring the boundary between rural and urban areas. The species has expanded beyond the hinterlands, colonising highly urbanised, densely populated city spaces in Genoa, drawn by the abundance of food waste created by humans.

In 2009, the infamous boar Pierino made his home at Righi, on the outskirts of Genoa, where he was routinely fed with focaccia by enthusiasts. Today, a family of wild boar call the Albergo dei Poveri – a historical hostel for the Genoese poor in the city centre – their home.

But while their antics are often recorded and shared with glee on social media, the threats posed by the presence of wild animals has become a preoccupation for the city’s municipal administration.

Boorish behaviour

Wild boar have been involved in a number of traffic accidents, and have proven to be particularly dangerous when with their young, attacking dogs and even people. The city council in Genoa has put forward many proposals to reduce the number of animals in the city, ranging from forced removals, to sterilisation, increased attention to waste disposal and approved hunts. About 90 wild boar were reportedly culled in 2018.

Needless to say, each of these measures has been hotly debated. Animal advocacy groups staunchly oppose the proposals, and sometimes obstruct the authorities’ attempts to take action, often sending patrols to care for the animals, and even give them names. But other residents are displeased with the animals’ presence in the city, and have consulted with the council on how to address the problems that they cause.

And so Genoa continues to grapple with thorny issues surrounding the presence of wild boar in the city, with the city authorities seeking to resolve a polemical issue that embroils the lives of animals and humans alike. So far, a collective, coherent and communally agreeable strategy has proven evasive; one that considers the need for public safety, hygiene and health with the ethical responsibilities towards to wild boar themselves.

Meanwhile, the animals themselves continue to lounge and forage beneath the Ponte Gerolamo Serra and elsewhere, bringing a little of the wilderness into the city.

The Conversation

Robert Hearn, Assistant Professor in Human Geography, University of Nottingham.

This article is republished from The Conversation under a Creative Commons license. Read the original article.