At the Regenerative Architecture Index launch party, founder of UK Architects Declare Michael Pawlyn sat down with legendary musician and thinker Brian Eno.
The Regenerative Architecture Index is now live – take a look and read all about it here. To celebrate its publication, AT with UK Architects Declare hosted a launch party at The Bottle Factory on the Old Kent Road. Among a regenerative hat competition and inspirational words from philosopher Roman Krznaric on how to be better ancestors, the audience was treated to a conversation on ideas, cities, culture, creativity and the future between Michael Pawlyn and Brian Eno.
The discussion began on the subject of cities. Eno emphasized the importance of having spaces for random, organic human interactions — places that resemble “primate grooming.” He described how nightclubs and certain social venues can serve this purpose but noted that modern cities tend to be overly functionalized, leaving little room for spontaneous activities.
“At the centre of the city is the forum where people decide things, where people get together and talk about things, and possibly groom each other,” he said.
He reflected on how city centres, historically dominated by religious or governmental buildings, now frequently revolve around shopping centres, symbolising consumerism. Eno advocated for a shift toward community-driven spaces where citizens engage in dialogue and decision-making, moving away from consumer-centred urban landscapes.
The Big Here and Long Now
Eno’s concept of “The Big Here and Long Now” stemmed from his time in New York. He observed how people in fast-paced environments like New York focus on immediate surroundings and short-term projects. In contrast, Eno expressed a desire for a broader perspective — one that encompasses both a “big here” (a sense of place beyond immediate borders) and a “long now” (thinking in terms of long-term impact).
This thinking led to the formation of the Long Now Foundation, which aims to promote long-term thinking. One of its most ambitious projects is building a 10,000-year clock in Texas, a symbol of humanity’s responsibility to consider the far future. Eno highlighted the importance of asking ourselves, “What is our long-term purpose?” and reflecting on the legacy we will leave for future generations.
The power of collective creativity: “Scenius”
A notable theme of the conversation was Eno’s concept of “scenius,” a term he coined to describe the collective intelligence and creativity of entire cultural scenes. He rejected the traditional notion of the “genius” as a singular, heroic figure and instead emphasised that cultural achievements are the result of a vibrant ecosystem of people, including artists, critics, gallerists, and the general public. Eno illustrated this idea through his exploration of early 20th-century Russian art, noting how creativity emerged from a dynamic community rather than just a few famous names.
“The creativity of a place comes from a whole interaction between many, many people doing lots of different things,” he noted.
Art, imagination, and the future
Eno also discussed the role of imagination in shaping the future, particularly through art. He noted that humans have a unique ability to model futures in their minds, which allows us to experiment with ideas before realising them in the physical world. This ability, he argued, is central to both science and art — “while science seeks to understand how the world works, art helps us understand how we, as humans, work.”
In reflecting on the responsibility of artists, Eno emphasised that the imagining of possibilities is critical in shaping the future. He underscored the need for artists, architects, and creators to recognise the power they have in influencing the direction of society and culture.
A call for greater articulation
Despite his admiration for the role of art, Eno expressed frustration with the way artists often struggle to articulate their contributions. He recalled asking artists what they believed they were doing, only to receive confused or hesitant answers. In contrast, scientists, when asked the same question, often provided clear and concise explanations of their work. Eno called for artists to become more articulate about the value of their work, especially in a world that increasingly marginalises art as something less critical than science or technology.
Source: Architecture Today
