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By providing your information, you agree to our Terms of Use and our Privacy Policy. We use vendors that may also process your information to help provide our services. When millions of protesters gathered in Tahrir Square in Cairo this winter, they were linked as much by communications technologies as by the sheer spaces that surrounded them. Tahrir Square, in particular, is a densely layered territory in which the modern meets the Mamluk, Haussmannian vistas meet cold-war brutalism, and networked paths meet the open agora.
Artforum asked renowned architectural historian and critic Nasser Rabbat to shed light on this extraordinary public arena, its historic energies, and its spaces of possibility. And Egypt, for those of us who have been listening, has not spoken about itself so powerfully, so confidently, or so defiantly in decades. The millions of voices that roared in demonstrations all over the country were loud and clear: The protesters wanted freedom from dictatorship, a more accountable and responsive government, and a decent life.
To people in most Western liberal democracies, these demands are rights guaranteed by constitutions and laws or so we blithely think. But to people in the Arab world, these rights have been absent from public discourse for much of the twentieth century.
The restoration of such liberties to the region may have begun after the successful Tunisian uprising this January. But in Egypt, it still seemed too idealistic to expect an unarmed and socially networked youth movement to dislodge a brutal, corrupt, and fully armed regime, which has been hard at work dismantling and dissipating all political expression in the country. The Egyptian youth, however, succeeded in forcing the dictator Mubarak to step down, after eighteen days of peaceful demonstrations.
