A Quote by Steve Inskeep

When I go to American cities and speak to American audiences about Karachi, I am able to draw their own wonder and consternation about the cities they live in as an entry point to this other faraway, instant city.
I am generally enthusiastic about cities. Here in the West there is a panic. Every time we have a debate about cities, we talk about the problems of cities.
Planning is for the world's great cities, for Paris, London, and Rome, for cities dedicated, at some level, to culture. Detroit, on the other hand, was an American city and therefore dedicated to money, and so design had given way to expediency.
[Chicago] is the greatest and most typically American of all cities. New York is bigger and more spectacular and can outmatch it in other superlatives, but it is a "world" city, more European in some respects than American.
When I choose the picture of the cover of the book 'Instant City: Life and Death in Karachi', I thought, gosh, many people in Karachi may not like this image; I'm representing the city as a burning bus. But to the contrary, they loved it, because that is people's understanding of their own city, of going on with life no matter what.
Every time I traveled to a new city, I would learn about local heroes I did not know about, and I would learn about their very impressive contribution to their cities. There are nuanced senses that only people from the region can understand, and no amount of globalization can change that. It's almost like a maxim of a sorts, when you think about language, the way that people speak in a location. It does happen with architects, in terms of how they engage cities.
One city can look at other cities relative to their city and learn something. It's a matter of sharing the patterns of what exists in one society based on landscape or cultural values versus other cities.
Well, first of all the Dominion Bureau of Statistics made a survey in the spring of 1970, which showed that on balance the difference in the cost of living between Canadian cities and American cities was 5 % to the advantage, of course, to the Canadian cities.
I have reported enough about Islam and terrorism to recognize that a lot of what is at stake is not strictly religion, even though it's also about power and control. In the case of Karachi, like so many other growing cities, it's also about land, mafias, gang activity.
Nothing lasts forever. But—especially as it seems to me cities and humans are symbiotically and inextricably bound at this point—I hope cities have a good, long run. Plus, cities are beautiful creatures in their own right; and as with us, their vulnerability and ephemerality are part of that beauty.
My work doesn't speak about individuals (it's not portraiture in the traditional sense), it tries to speak about life in general in cities of the West - which is where I live and what I understand.
Canadian cities looked the way American cities did on television.
We haven't had an agenda for American cities probably since at least Jimmy Carter. We have left cities to fend for themselves.
Some remain great cities, but they shouldn't stand still. They should move in the direction of a knowledge-oriented society. Most cities have to do something to draw attention to themselves and make their particular assets visible on the international radar. I'm not talking about developing countries, but about the United States and Europe.
Backward cities, or younger cities, or newly forming cities in supply regions, have to develop to a great extent on one another's shoulders. This is one of the terrible things about empires.
We often judge cities by great public buildings. But we admire great cities because people live there in a beautiful way. You have to think about how each person will live there; you can't just think about abstract ideas.
I've spent most of my life in cities, and so I've always lived with the curiosity about what makes for city cultures and how peoples live in cities, how peoples anywhere manage to co-exist, the public life and the private life.
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