The city was a maze of contrasts. On one side, glittering skyscrapers reflected the sunlight, their façades shimmering like gold. On the other, narrow alleyways led to dilapidated housing blocks, their shadows heavy with despair. Will Hunter walked the boundary between these two worlds, feeling the tension in the air.
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“This is Dystropolis,” a man said, stepping out from the shadows. It was Dr. Malik, a sociologist studying urban inequality. “Here, the architecture itself mirrors societal oppression.”
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Dr. Malik pointed to the high-rise luxury apartments. “These buildings were designed to isolate. Gated entrances, private amenities, and even separate elevators for service workers—everything about them reinforces division.”
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Will remembered Mike Davis’ City of Quartz, which described how urban design in Los Angeles perpetuated inequality. Defensive architecture—spikes on benches, surveillance cameras, and restricted access—wasn’t just about security; it was about exclusion.
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As they walked, Will noticed the stark differences in infrastructure. In the wealthy district, tree-lined boulevards and clean parks invited leisure. Across the boundary, cracked sidewalks and neglected public spaces signaled abandonment.
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“This isn’t accidental,” Dr. Malik said. “Urban planning has always been political. Zoning laws, redlining, and land use decisions shape who thrives and who struggles.”
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Will thought of other cities where inequality was built into the landscape. In Rio de Janeiro, favelas clung to the hillsides while luxury developments sprawled below. In Johannesburg, apartheid-era planning left scars that still divided communities.
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They reached a wall—an imposing concrete barrier separating the two halves of the city. “Physical walls aren’t the only barriers,” Dr. Malik said. “Economic, social, and psychological boundaries are just as powerful.”
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As they stood in the shadow of the wall, Will felt the weight of Dystropolis’ design. “Architecture should unite,” he said quietly. “But here, it divides, oppresses, and silences.”
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Dr. Malik placed a hand on the wall, his voice resolute. “Change begins when we recognize the power of design to shape society—for better or worse.”