The Unknown City: Contesting Architecture and Social Space

The Un(known) City . . .
from our “knowledge”—and it is on these veiled, invisible, hidden, secret
spaces that modern urban life rests. Awkwardly.
UNDERGROUND CITIES
So far, the unknown city I have discussed is a psychological affair. The urban
geography of connections that lie buried, unknown, beneath the city
are unconscious connections between everyday events and objects and the
events and objects of childhood desires and fears. Thus, there is an urban
geography of ambivalence: of desire and fear in the streets, as people move
through them, crossing from one (familiar) place to another (strange) place.
Journeys around the city are not always above ground, not always in full
view. Instead, the city can become unknown as things are driven below the
surface, repressed, openly buried.
According to Henri Lefebvre, there was a pit at the center of medieval
Italian cities, into which rubbish was thrown, that also symbolized a
connection to an underground world. 10 This pit was called the mundus. It was
a sacred or accursed place in the middle of the Italiot township. A
pit, originally—a dust hole, a public rubbish dump. Into it were
cast trash and filth of every kind, along with those condemned to
death, and any newborn baby whose father declined to “raise” it....
A pit, then, “deep” above all in meaning. It connected the city, the
space above ground, land-as-soil and land-as-territory, to the hidden,
clandestine, subterranean spaces which were those of fertility
and death, of the beginning and the end, of birth and burial.... The
pit was also a passageway through which dead souls could return to
the bosom of the earth and then re-emerge and be reborn. As locus
of time, of births and tombs, vagina of the nurturing earth-asmother,
dark corridor emerging from the depths, cavern opening to
the light, estuary of hidden forces and mouth of the realm of shadows,
the mundus terrified as it glorified. In its ambiguity it encompassed
the greatest foulness and the greatest purity, life and death,
fertility and destruction, horror and fascination. 11
Surface and depth are counterposed through the spaces of the city
and the body, each holding its own truth about life and death—simultaneously
terrifying and glorified, the pit is also uncanny (in Freud’s terms). And
the pit introduces further narrative about the city: the underground connections
that lie beneath the city tell of other ambiguities and ambivalences,
bound up in life and earth, purity and foulness. Now, Lefebvre’s analysis
may not hold for cities elsewhere, but it does show that the spaces of the city