Based on previous presentation: 5 Rumors of Cities, altered and added 1 vision for Design.
A short talk for NCTU Architecture School's Open Studio 2012 Event. Thanks for the invitation by David C Tseng, professor from NCTU.
A collection of thoughts about the influence that Internet and social media are exercising on architectural theory and practice, accompanied by some suggestions about how architects should react to it.
The document discusses the relationship between architecture, media, and perception from the early 20th century to today. It summarizes key ideas from thinkers like Walter Benjamin, Marshall McLuhan, Guy Debord, Jean Baudrillard, Beatriz Colomina, and others on how new media technologies have transformed human perception and the role of images in architecture. Examples of modernist architecture and media from the 1920s-1970s are provided alongside more recent discussions of digital media, the internet, and concepts like the post-internet society.
The topic of this presentation is a particular case among the different kinds of relationships that digital technology etablishes with architectural culture today. More precisely, I will discuss the concept of “post-digital” architecture, which is a concept that has been quite widely debated in the last few years, particularly in relation to architectural practices that recur to techniques of representation privileging 2d image-editing tools such as Photoshop and Illustrator, instead of using advanced 3D modelling and rendering tools. In a nutshell, what I want to discuss is the kind of architectural image, and therefore the kind of architecture, that emerges from a post-digital approach to representation.
Chiara Donelli and Michele Trimarchi, Where Is Berlin? LabGov
Berlin is a creative and cosmopolitan city that has faced many challenges with its history and reunification. It has a polycentric texture with multiple art and cultural options providing a high quality of life. The fall of the Berlin Wall left the city questioning how to rebuild and what to preserve from its past. Urban planners worked to redevelop the city amid competing projects and interests. Berlin remains a fragmented city with ongoing issues of gentrification displacing long-time residents and threats to its diverse communities. Maps may help navigate its patches but cultural commons that encourage cross-fertilization and shared use can enhance sustainability if connections between areas are maintained.
This document profiles 6 leading 3D street artists from around the world: Kurt Wenner transforms Renaissance art into 3D street paintings; Julian Beever creates chalk drawings that wash away after a day; Tracy Lee Stum holds the world record for largest street painting and works in biblical and exotic themes; Eduardo Relero illustrates fanciful sidewalk chalk drawings in Spain; Eric Grohe was a graphic designer who began creating trompe l'oeil murals depicting patriotic American scenes. These artists pioneer new techniques in 3D anamorphic street art, combining classical skills with modern urban media.
Vertical noir: Histories of the future in urban science fictionStephen Graham
Unerringly, across its whole history, urban science fiction has offered up imagined cities that operate about remarkably similar and highly verticalised visions. These are heavily dominated
by politics of class, resistance and revolution that are starkly organized around vertically stratified and vertically exaggerated urban spaces. From the early and definitive efforts
of H.G. Wells and Fritz Lang, through J.G. Ballard’s 1975 novel 'High Rise', to many cyberpunk classics, this essay – the latest in a series on the vertical dimensions of cities –reflects on how vertical imaginaries in urban science fiction intersect with the politics and contestations of the fast-verticalising cities around the world. The essay has four parts. It begins by disentangling in detail the ways in which the sci-fi visions of Wells, Lang, Ballard and various cyberpunk authors were centrally constituted through vertical structures, landscapes, metaphors and allegories. The essay’s second part then then teases out the complex linkages between verticalised sci-fi imaginaries and material cityscapes that are actually constructed, lived and experienced. Stressing the impossibility of some clean and binary opposition between ‘factual’ and ‘fictional’ cities, the essay explores how verticalised
projects, material cities, sci-fi texts, imaginary futures, architectural schemes and urban theories mingle and resonate together in complex, unpredictable and important ways which do much to shape contemporary urban landscapes. The third section of the essay explores such connections through the cases of retro-futuristic urban megaprojects in the Gulf and forests of towers recently constructed in Shanghai’s Pudong district. The
essay’s final discussion draws on these cases to explore the possibilities that sci-fi imaginaries offer for contesting the rapid verticalisation of cities around the world.
The document discusses several early 20th century art movements that influenced graphic design, including Cubism, Futurism, Dada, Surrealism, and Expressionism. Cubism depicted subjects from multiple angles and used geometric forms inspired by African masks. Futurism, led by Filippo Marinetti, celebrated speed, technology, and modernity. Dada sought to attack artistic tradition through works by artists like Marcel Duchamp. Surrealism incorporated techniques like collage and photomontage. Expressionism aimed to convey emotional experiences through works from artists such as Käthe Schmidt Kollwitz. These movements explored new approaches to visual composition that expanded what was considered art and influenced innovative designs.
A collection of thoughts about the influence that Internet and social media are exercising on architectural theory and practice, accompanied by some suggestions about how architects should react to it.
The document discusses the relationship between architecture, media, and perception from the early 20th century to today. It summarizes key ideas from thinkers like Walter Benjamin, Marshall McLuhan, Guy Debord, Jean Baudrillard, Beatriz Colomina, and others on how new media technologies have transformed human perception and the role of images in architecture. Examples of modernist architecture and media from the 1920s-1970s are provided alongside more recent discussions of digital media, the internet, and concepts like the post-internet society.
The topic of this presentation is a particular case among the different kinds of relationships that digital technology etablishes with architectural culture today. More precisely, I will discuss the concept of “post-digital” architecture, which is a concept that has been quite widely debated in the last few years, particularly in relation to architectural practices that recur to techniques of representation privileging 2d image-editing tools such as Photoshop and Illustrator, instead of using advanced 3D modelling and rendering tools. In a nutshell, what I want to discuss is the kind of architectural image, and therefore the kind of architecture, that emerges from a post-digital approach to representation.
Chiara Donelli and Michele Trimarchi, Where Is Berlin? LabGov
Berlin is a creative and cosmopolitan city that has faced many challenges with its history and reunification. It has a polycentric texture with multiple art and cultural options providing a high quality of life. The fall of the Berlin Wall left the city questioning how to rebuild and what to preserve from its past. Urban planners worked to redevelop the city amid competing projects and interests. Berlin remains a fragmented city with ongoing issues of gentrification displacing long-time residents and threats to its diverse communities. Maps may help navigate its patches but cultural commons that encourage cross-fertilization and shared use can enhance sustainability if connections between areas are maintained.
This document profiles 6 leading 3D street artists from around the world: Kurt Wenner transforms Renaissance art into 3D street paintings; Julian Beever creates chalk drawings that wash away after a day; Tracy Lee Stum holds the world record for largest street painting and works in biblical and exotic themes; Eduardo Relero illustrates fanciful sidewalk chalk drawings in Spain; Eric Grohe was a graphic designer who began creating trompe l'oeil murals depicting patriotic American scenes. These artists pioneer new techniques in 3D anamorphic street art, combining classical skills with modern urban media.
Vertical noir: Histories of the future in urban science fictionStephen Graham
Unerringly, across its whole history, urban science fiction has offered up imagined cities that operate about remarkably similar and highly verticalised visions. These are heavily dominated
by politics of class, resistance and revolution that are starkly organized around vertically stratified and vertically exaggerated urban spaces. From the early and definitive efforts
of H.G. Wells and Fritz Lang, through J.G. Ballard’s 1975 novel 'High Rise', to many cyberpunk classics, this essay – the latest in a series on the vertical dimensions of cities –reflects on how vertical imaginaries in urban science fiction intersect with the politics and contestations of the fast-verticalising cities around the world. The essay has four parts. It begins by disentangling in detail the ways in which the sci-fi visions of Wells, Lang, Ballard and various cyberpunk authors were centrally constituted through vertical structures, landscapes, metaphors and allegories. The essay’s second part then then teases out the complex linkages between verticalised sci-fi imaginaries and material cityscapes that are actually constructed, lived and experienced. Stressing the impossibility of some clean and binary opposition between ‘factual’ and ‘fictional’ cities, the essay explores how verticalised
projects, material cities, sci-fi texts, imaginary futures, architectural schemes and urban theories mingle and resonate together in complex, unpredictable and important ways which do much to shape contemporary urban landscapes. The third section of the essay explores such connections through the cases of retro-futuristic urban megaprojects in the Gulf and forests of towers recently constructed in Shanghai’s Pudong district. The
essay’s final discussion draws on these cases to explore the possibilities that sci-fi imaginaries offer for contesting the rapid verticalisation of cities around the world.
The document discusses several early 20th century art movements that influenced graphic design, including Cubism, Futurism, Dada, Surrealism, and Expressionism. Cubism depicted subjects from multiple angles and used geometric forms inspired by African masks. Futurism, led by Filippo Marinetti, celebrated speed, technology, and modernity. Dada sought to attack artistic tradition through works by artists like Marcel Duchamp. Surrealism incorporated techniques like collage and photomontage. Expressionism aimed to convey emotional experiences through works from artists such as Käthe Schmidt Kollwitz. These movements explored new approaches to visual composition that expanded what was considered art and influenced innovative designs.
The document discusses urban design theories and the metabolist movement in Japan. Some key points:
- The metabolist movement emerged in post-war Japan to address the need for efficient residential and urban housing. Metabolists rejected traditional architecture and envisioned cities with large, flexible structures that facilitate organic growth.
- Notable metabolist projects included Kisho Kurokawa's capsule tower and Kenzo Tange's plans for redeveloping cities like Tokyo that integrated the sea and sky into urban habitats.
- The metabolist movement was influenced by teams like Team X and sought to situate futuristic concepts in the context of Japan's reconstruction and rapid economic growth in the 1960s.
-
Jean Baudrillard was a French philosopher known for his ideas around simulations and simulacra in a postmodern environment. Some of his most important works that explored these concepts included "Simulacra and Simulations" and "Utopia Deferred." He believed that with advances in media and technology, simulated versions of reality could become indistinguishable from actual reality, resulting in a "hyperreality." Baudrillard used Disneyland as an example of how an imaginary space aims to mask the fact that reality is no longer real through heightened simulations. His work has been influential in understanding the effects of postmodernism and how it can alter perceptions of media and the world.
This document provides an introduction to an issue of the magazine URBAN focused on the theme of "trans." It summarizes the contents, which include essays on topics like transforming lives through sport in Harlem, art and its provenance in the San Fernando Valley, and critiques of housing construction in France and cultural exhibits in New York. The introduction discusses how the prefix "trans" has returned to common language and academic writing, endowed with new meaning around issues of materiality, technology, and the blurred boundaries between organic and inorganic. It suggests the city is populated with "trans-entities" and things have agency in how they enable human action.
Stephen graham lucy hewitt cities and verticality pptStephen Graham
The document discusses the need for critical urban research to adopt a more three-dimensional, "vertical" perspective in line with the radical vertical extensions of modern built environments. It highlights four main themes: 1) the cultural politics of the aerial view in urban planning, 2) the vertical dimensions of building up and down through structures like skyscrapers and underground complexes, 3) the new "military urbanism" dominated by vertical surveillance technologies, and 4) possibilities for vertical forms of counterpolitics and democratic urbanism. The document calls for connecting analyses of the vertical dimensions of cities to broader social, political, and ecological contexts of urban life.
Lewis Mumford was an American historian, sociologist, philosopher of technology, and writer known for his studies of cities and urban architecture. He believed that the chief function of cities is to convert resources into culture. Mumford was influenced by Patrick Geddes' concept of regional planning and worked to establish cities planned sustainably on a human scale with residential, cultural, commercial, and industrial areas surrounded by agricultural greenbelts. He criticized projects like Robert Moses' highways in New York for prioritizing cars over communities. Mumford's work promoted organic, sustainable urban development and influenced environmental and appropriate technology movements.
The document discusses the concept of the "Doppelstadt" (double city) proposed by Rudolf Schwarz for the city of Cologne in the 1950s-60s. Schwarz envisioned two city cores - one at Heumarkt and another in the northern industrial area. However, the exact location of the second core was unclear. Modern members of the city council who supported increased car infrastructure and development departed from Schwarz's original, more preservation-focused vision. Over time, as car traffic increased drastically and new developments reshaped the urban landscape, the idea of two distinct cores gave way to a dispersed, car-centric urban form with multiple activity centers circling a main core. The document examines how Schwarz's Doppelstadt concept
A series of arguments about the possibility (and convenience) to approach architecture theory as a form of storytelling, and as a consequence, architecture as a collection of narratives.
This short essay is connected to the IKT (IKT - International association of curators of contemporary art) lecture presented in Siena in June 2001, titled "Anatomy of the Swiss Army Knife". This lecture addresses the do's and don't of art in the public realm, and the highly specific tools one needs to cope with the benevolent (or malevolent, for that matter) properties of the public realm in all its intricacies.
What is a City”Architectural Record (1937)Lewis Mumfor.docxphilipnelson29183
“What is a City?”
Architectural Record (1937)
Lewis Mumford
Editors’ Introduction
Lewis Mumford (1895–1990) has been called the United States’ last great public intellectual – that is, a scholar
not based in academia who writes for an educated popular audience. Beginning with the publication of his first
book The Story of Utopias in 1922 and continuing throughout a career that saw the publication of some twenty-
five influential volumes, Mumford made signal contributions to social philosophy, American literary and cultural
history, the history of technology and, preeminently, the history of cities and urban planning practice.
Born in Brooklyn and coming of age at a time when the modern city was reaching a new peak in the history of
urban civilization, Mumford saw the urban experience as an essential component in the development of human
culture and the human personality. He consistently argued that the physical design of cities and their economic
functions were secondary to their relationship to the natural environment and to the spiritual values of human
community. Mumford applied these principles to his architectural criticism for The New Yorker magazine and his
work with the Regional Planning Association of America in the 1920s and 1930s, his campaign against plans to
build a highway through Washington Square in New York’s Greenwich Village in the 1950s, and his lifelong
championing of the environmental theories of Patrick Geddes and the Garden City ideals of Ebenezer Howard.
In “What is a City?” – the text of a 1937 talk to an audience of urban planners – Mumford lays out his fundamental
propositions about city planning and the human potential, both individual and social, of urban life. The city, he writes,
is “a theater of social action,” and everything else – art, politics, education, commerce – serve only to make the
“social drama . . . more richly significant, as a stage-set, well-designed, intensifies and underlines the gestures of
the actors and the action of the play.” The city as a form of social drama expressed as much in daily life as in
revolutionary moments – it was a theme and an image to which Mumford would return over and over again. In The
Culture of Cities of 1938, he rhapsodized about the artist Albrecht Dürer witnessing a religious procession in
Antwerp in 1519 that was a dramatic performance “where the spectators were also communicants.” And in “The
Urban Drama” from The City in History of 1961, he reflected on the ways that the social life of the ancient city
established a kind of dramatic dialogue “in which common life itself takes on the features of a drama, heightened
by every device of costume and scenery, for the setting itself magnifies the voice and increases the apparent
stature of the actors.” Mumford was quick to point out that the earliest urban dialogue was really a one-way
“monologue of power” from the king to his cowering subjects. Such an absence of true dialogue, he wrote, was
“bound to have a fat.
Architects have significantly influenced urban planning throughout history. Notable architects mentioned include Rem Koolhaas, Le Corbusier, Jane Jacobs, Kevin Lynch, Daniel Burnham, Jan Gehl, Camillo Sitte, Raj Rewal, Fredrick Law Olmsted, Arata Isozaki, Massimiliano Fuksas, Norman Foster, Jaime Lerner, Robert Moses, Catherine Bauer Wurster, Rahul Mehrotra, Gordon Cullen, and Jean Nouvel. These architects brought innovative design solutions and a creative vision to shaping the built environment of cities and towns. Today, architects continue to play an important role in urban planning by working to create livable, sustainable,
The document discusses how modern architecture and urban planning emerged in the early 20th century. It suggests that modernist architects like Le Corbusier may have had neurological conditions like autism that influenced their designs. Their brains processed visual stimuli differently and they disliked chaotic urban environments. This helped shape Le Corbusier's vision of isolated towers and highways with no crowds, which was easier for those with autism to process visually. Recent research indicates people with autism can experience hypersensitivity to complex visual scenes, and modernism simplified designs in a way that addressed this.
Class #1 GE Documentary and Everyday Urban LifeShannon Walsh
This document outlines the course "Documentary & Everyday Urban Life" which examines cities through documentary films, creative works, and fieldwork. The course aims to study the invisible everyday processes that shape urban life through the perspectives of people in various occupations. Students will develop projects in Hong Kong neighborhoods to understand the social and cultural dimensions of cities. Assignments include group inequality projects, individual blogs, and presentations. Readings and films will provide frameworks for analyzing urban space and experience.
The document discusses the transformation of several urban areas in Europe from the 18th century to present day. It notes that in the 19th century, many areas were seen as unsanitary and industrial, but they have since undergone regeneration efforts focusing on culture, housing, offices, and tourism. Some key similarities across places included a focus on attracting new audiences and diversifying local economies. The document suggests that historic environments often became central to regeneration agendas because of an underlying attachment between communities and places, even when under threat of change. It notes examples where communities mobilized to preserve buildings and argues this "love of the past" can anchor society. However, it also lists challenges to preserving historic character, such as pressures from local
INSTRUCTIONS Answer each question separately and number them .docxnormanibarber20063
INSTRUCTIONS: Answer each question separately and number them according to the question number.
Each answer must be roughly between 200 to 400 words.
1. 1959 was a year that changed everything according - historic events included the launching of Soviet
spacecraft, the approval of the birth control pill, the start of racial desegregation, the sale of the first
IBM computer. In architecture, by 1959 a new generation, called Team X, had come to reject modern
architecture in favor of contemporary architecture - a term that was used to distinguish their work from
CIAM modernism. How did Team X distinguish their work and what was their critique of CIAM in the late
1950s and 60s? Describe using specific building examples.
2. Functionalism is traditionally associated with WWII and mechanization. Debates on functionalism
dated back to the 1920s and continued to the 1970s. The Functionalists were critiqued for denying the
role of aesthetics and for failing to fulfill the real utility of function (ie. buildings that deteriorated after
just 5 years, etc). These debates were characterized by a reconciliation and integration of functionalism
with more humanistic concerns - symbolic representation, organicism, aesthetic expressiveness,
contextual relationships, and social, anthropological, and psychological subject matter. Describe how
neglected topics such as history, popular culture, regional traditions, and the city were reconsidered in
the 1960s.
3. “Everybody, everywhere, seems to express the desire to be “modern.” There is no longer a war
between the old and the new - the old, it seems, has ceased to exist. The present is a moment of crisis,
not any longer because we need modern architecture, but because we have got it.” - J.M. Richards.
What does Richards mean by this remark from the early 1960s? Why was modern architecture suddenly
a problem?
4. Philip Johnson’s crutches articulate aspects of architecture that we lean on to “help us walk upright.”
Explain, in your own words, the following two crutches: “The most important crutch in recent times is
not valid now: the Crutch of History. In the old days, you could always rely on books. You could say
“what do you mean you don't like my tower? There it is in Wren.” Or, “They did that on the Subtreasury
building - what can’t I do it?” History doesn’t bother us very much now. The Crutch of the Pretty
Drawing still is with us today (or the cult of the pretty plan). It’s a wonderful crutch because you can give
yourself the illusion that you are creating architecture while you’re making pretty drawings. Architecture
is too hard. Pretty pictures are easier.”
5. According to Reyner Banham, what is the “New Brutalism”? Why was he critical of all the new “-
isms”? Use evidence from the Banham essay.
6. According to Reyner Banham, “the architect who proposes to run with technology knows that he will
be in fast company, and that, in .
This document provides an overview of topics to be covered in a class on cities, everyday life, and space as relationships. The topics include:
- Why cities are important in today's world with most people living in cities
- Studying cities and everyday life through various academic lenses
- How space is a social and political construction that reproduces power dynamics
- Different practices of mapping space, from traditional to more creative/experiential approaches
- Analyzing cities through film and how film has both represented and shaped perspectives of urban areas
- An assignment involving collaborative group work to cognitively map an area through non-traditional means.
Neo traditional Architectural and urban Design Practices .pdfToffik Abdela Hassen
The document discusses how modern architecture and urban planning emerged in the early 20th century. It argues that modernism was influenced not just by the aftermath of World War I, but also by the brain disorders and atypical ways of seeing the world of some of its key founders, such as Le Corbusier. Recent evidence suggests Le Corbusier may have had autism spectrum disorder, which could have impacted his preference for streamlined, simplified designs that reduced visual overload and focused on isolated buildings rather than complex urban contexts. This perspective provides new context for understanding the shift away from ornamented, detailed traditional architecture to the starker forms of modernism.
Week 10 in jeopardy idealism, authenticity, universality and the avant-gardeDeborahJ
The document discusses the legacy of modernism and modernity in art and architecture. It explores how modernist ideals of universality and utopian visions failed or were co-opted by commercial interests. Contemporary artists are now revisiting and critically reflecting on modernism in an attempt to both reanimate its radical possibilities and mourn what was lost. Examples are given of artists investigating themes of consensus, collapse, and the ruins left behind by once utopian modernist projects. The influence of modernist aesthetics and ideology are also examined in relation to how they still shape our world today.
1) Barcelona is located on Spain's northern Mediterranean coast, bounded naturally by rivers, the sea, and mountains. Over centuries it grew from a Roman settlement into a medieval walled city and then expanded on a grid plan in the 19th century.
2) In the 1980s, Barcelona faced urban decay but used the 1992 Olympics as catalyst for urban renewal, rebuilding neglected areas and connecting the city to its waterfront with new beaches, parks, and infrastructure.
3) Planner Oriol Bohigas led the transformation, using the Olympics to fund over 200 new public projects that inserted amenities into formerly derelict, high-crime neighborhoods.
Jacobs had no professional training in the field of city planning, nor did she hold the title of planner. Instead, she relied on her observations and common sense to show why certain places work, and what can be done to improve those that do not
In Visible Cities: Taipei 在看得見的城市:台北-- 階段成果分享會Roy Lin
‘InVisibleCities’ is a self-initiated, experimental urban research project aiming to explore a new design approach incorporating data-driven thinking. It is a half-way manifesto, an open call for wider city innovation community to join together for better city making. We are keen to meet more data experts, urbanists, city innovators, designers, policy makers, and interest groups.
從前看不見的城市,現在我們有機會看見了,看見人們的情感、活動、記憶。從宏觀、理性到微觀、感性,跨專業的探索城市。"在看得見的城市:台北" 是一項自發性的都市研究計畫,利用台北市開放資料為基礎,以設計和策略的角度對台北提出倡議,並探索資料導向的設計方法。我們期待與更多同好交流。
contact: invisiblecities.info@gmail.com
Facebook search: In Visible Cities 在看得見的城市
The document discusses urban design theories and the metabolist movement in Japan. Some key points:
- The metabolist movement emerged in post-war Japan to address the need for efficient residential and urban housing. Metabolists rejected traditional architecture and envisioned cities with large, flexible structures that facilitate organic growth.
- Notable metabolist projects included Kisho Kurokawa's capsule tower and Kenzo Tange's plans for redeveloping cities like Tokyo that integrated the sea and sky into urban habitats.
- The metabolist movement was influenced by teams like Team X and sought to situate futuristic concepts in the context of Japan's reconstruction and rapid economic growth in the 1960s.
-
Jean Baudrillard was a French philosopher known for his ideas around simulations and simulacra in a postmodern environment. Some of his most important works that explored these concepts included "Simulacra and Simulations" and "Utopia Deferred." He believed that with advances in media and technology, simulated versions of reality could become indistinguishable from actual reality, resulting in a "hyperreality." Baudrillard used Disneyland as an example of how an imaginary space aims to mask the fact that reality is no longer real through heightened simulations. His work has been influential in understanding the effects of postmodernism and how it can alter perceptions of media and the world.
This document provides an introduction to an issue of the magazine URBAN focused on the theme of "trans." It summarizes the contents, which include essays on topics like transforming lives through sport in Harlem, art and its provenance in the San Fernando Valley, and critiques of housing construction in France and cultural exhibits in New York. The introduction discusses how the prefix "trans" has returned to common language and academic writing, endowed with new meaning around issues of materiality, technology, and the blurred boundaries between organic and inorganic. It suggests the city is populated with "trans-entities" and things have agency in how they enable human action.
Stephen graham lucy hewitt cities and verticality pptStephen Graham
The document discusses the need for critical urban research to adopt a more three-dimensional, "vertical" perspective in line with the radical vertical extensions of modern built environments. It highlights four main themes: 1) the cultural politics of the aerial view in urban planning, 2) the vertical dimensions of building up and down through structures like skyscrapers and underground complexes, 3) the new "military urbanism" dominated by vertical surveillance technologies, and 4) possibilities for vertical forms of counterpolitics and democratic urbanism. The document calls for connecting analyses of the vertical dimensions of cities to broader social, political, and ecological contexts of urban life.
Lewis Mumford was an American historian, sociologist, philosopher of technology, and writer known for his studies of cities and urban architecture. He believed that the chief function of cities is to convert resources into culture. Mumford was influenced by Patrick Geddes' concept of regional planning and worked to establish cities planned sustainably on a human scale with residential, cultural, commercial, and industrial areas surrounded by agricultural greenbelts. He criticized projects like Robert Moses' highways in New York for prioritizing cars over communities. Mumford's work promoted organic, sustainable urban development and influenced environmental and appropriate technology movements.
The document discusses the concept of the "Doppelstadt" (double city) proposed by Rudolf Schwarz for the city of Cologne in the 1950s-60s. Schwarz envisioned two city cores - one at Heumarkt and another in the northern industrial area. However, the exact location of the second core was unclear. Modern members of the city council who supported increased car infrastructure and development departed from Schwarz's original, more preservation-focused vision. Over time, as car traffic increased drastically and new developments reshaped the urban landscape, the idea of two distinct cores gave way to a dispersed, car-centric urban form with multiple activity centers circling a main core. The document examines how Schwarz's Doppelstadt concept
A series of arguments about the possibility (and convenience) to approach architecture theory as a form of storytelling, and as a consequence, architecture as a collection of narratives.
This short essay is connected to the IKT (IKT - International association of curators of contemporary art) lecture presented in Siena in June 2001, titled "Anatomy of the Swiss Army Knife". This lecture addresses the do's and don't of art in the public realm, and the highly specific tools one needs to cope with the benevolent (or malevolent, for that matter) properties of the public realm in all its intricacies.
What is a City”Architectural Record (1937)Lewis Mumfor.docxphilipnelson29183
“What is a City?”
Architectural Record (1937)
Lewis Mumford
Editors’ Introduction
Lewis Mumford (1895–1990) has been called the United States’ last great public intellectual – that is, a scholar
not based in academia who writes for an educated popular audience. Beginning with the publication of his first
book The Story of Utopias in 1922 and continuing throughout a career that saw the publication of some twenty-
five influential volumes, Mumford made signal contributions to social philosophy, American literary and cultural
history, the history of technology and, preeminently, the history of cities and urban planning practice.
Born in Brooklyn and coming of age at a time when the modern city was reaching a new peak in the history of
urban civilization, Mumford saw the urban experience as an essential component in the development of human
culture and the human personality. He consistently argued that the physical design of cities and their economic
functions were secondary to their relationship to the natural environment and to the spiritual values of human
community. Mumford applied these principles to his architectural criticism for The New Yorker magazine and his
work with the Regional Planning Association of America in the 1920s and 1930s, his campaign against plans to
build a highway through Washington Square in New York’s Greenwich Village in the 1950s, and his lifelong
championing of the environmental theories of Patrick Geddes and the Garden City ideals of Ebenezer Howard.
In “What is a City?” – the text of a 1937 talk to an audience of urban planners – Mumford lays out his fundamental
propositions about city planning and the human potential, both individual and social, of urban life. The city, he writes,
is “a theater of social action,” and everything else – art, politics, education, commerce – serve only to make the
“social drama . . . more richly significant, as a stage-set, well-designed, intensifies and underlines the gestures of
the actors and the action of the play.” The city as a form of social drama expressed as much in daily life as in
revolutionary moments – it was a theme and an image to which Mumford would return over and over again. In The
Culture of Cities of 1938, he rhapsodized about the artist Albrecht Dürer witnessing a religious procession in
Antwerp in 1519 that was a dramatic performance “where the spectators were also communicants.” And in “The
Urban Drama” from The City in History of 1961, he reflected on the ways that the social life of the ancient city
established a kind of dramatic dialogue “in which common life itself takes on the features of a drama, heightened
by every device of costume and scenery, for the setting itself magnifies the voice and increases the apparent
stature of the actors.” Mumford was quick to point out that the earliest urban dialogue was really a one-way
“monologue of power” from the king to his cowering subjects. Such an absence of true dialogue, he wrote, was
“bound to have a fat.
Architects have significantly influenced urban planning throughout history. Notable architects mentioned include Rem Koolhaas, Le Corbusier, Jane Jacobs, Kevin Lynch, Daniel Burnham, Jan Gehl, Camillo Sitte, Raj Rewal, Fredrick Law Olmsted, Arata Isozaki, Massimiliano Fuksas, Norman Foster, Jaime Lerner, Robert Moses, Catherine Bauer Wurster, Rahul Mehrotra, Gordon Cullen, and Jean Nouvel. These architects brought innovative design solutions and a creative vision to shaping the built environment of cities and towns. Today, architects continue to play an important role in urban planning by working to create livable, sustainable,
The document discusses how modern architecture and urban planning emerged in the early 20th century. It suggests that modernist architects like Le Corbusier may have had neurological conditions like autism that influenced their designs. Their brains processed visual stimuli differently and they disliked chaotic urban environments. This helped shape Le Corbusier's vision of isolated towers and highways with no crowds, which was easier for those with autism to process visually. Recent research indicates people with autism can experience hypersensitivity to complex visual scenes, and modernism simplified designs in a way that addressed this.
Class #1 GE Documentary and Everyday Urban LifeShannon Walsh
This document outlines the course "Documentary & Everyday Urban Life" which examines cities through documentary films, creative works, and fieldwork. The course aims to study the invisible everyday processes that shape urban life through the perspectives of people in various occupations. Students will develop projects in Hong Kong neighborhoods to understand the social and cultural dimensions of cities. Assignments include group inequality projects, individual blogs, and presentations. Readings and films will provide frameworks for analyzing urban space and experience.
The document discusses the transformation of several urban areas in Europe from the 18th century to present day. It notes that in the 19th century, many areas were seen as unsanitary and industrial, but they have since undergone regeneration efforts focusing on culture, housing, offices, and tourism. Some key similarities across places included a focus on attracting new audiences and diversifying local economies. The document suggests that historic environments often became central to regeneration agendas because of an underlying attachment between communities and places, even when under threat of change. It notes examples where communities mobilized to preserve buildings and argues this "love of the past" can anchor society. However, it also lists challenges to preserving historic character, such as pressures from local
INSTRUCTIONS Answer each question separately and number them .docxnormanibarber20063
INSTRUCTIONS: Answer each question separately and number them according to the question number.
Each answer must be roughly between 200 to 400 words.
1. 1959 was a year that changed everything according - historic events included the launching of Soviet
spacecraft, the approval of the birth control pill, the start of racial desegregation, the sale of the first
IBM computer. In architecture, by 1959 a new generation, called Team X, had come to reject modern
architecture in favor of contemporary architecture - a term that was used to distinguish their work from
CIAM modernism. How did Team X distinguish their work and what was their critique of CIAM in the late
1950s and 60s? Describe using specific building examples.
2. Functionalism is traditionally associated with WWII and mechanization. Debates on functionalism
dated back to the 1920s and continued to the 1970s. The Functionalists were critiqued for denying the
role of aesthetics and for failing to fulfill the real utility of function (ie. buildings that deteriorated after
just 5 years, etc). These debates were characterized by a reconciliation and integration of functionalism
with more humanistic concerns - symbolic representation, organicism, aesthetic expressiveness,
contextual relationships, and social, anthropological, and psychological subject matter. Describe how
neglected topics such as history, popular culture, regional traditions, and the city were reconsidered in
the 1960s.
3. “Everybody, everywhere, seems to express the desire to be “modern.” There is no longer a war
between the old and the new - the old, it seems, has ceased to exist. The present is a moment of crisis,
not any longer because we need modern architecture, but because we have got it.” - J.M. Richards.
What does Richards mean by this remark from the early 1960s? Why was modern architecture suddenly
a problem?
4. Philip Johnson’s crutches articulate aspects of architecture that we lean on to “help us walk upright.”
Explain, in your own words, the following two crutches: “The most important crutch in recent times is
not valid now: the Crutch of History. In the old days, you could always rely on books. You could say
“what do you mean you don't like my tower? There it is in Wren.” Or, “They did that on the Subtreasury
building - what can’t I do it?” History doesn’t bother us very much now. The Crutch of the Pretty
Drawing still is with us today (or the cult of the pretty plan). It’s a wonderful crutch because you can give
yourself the illusion that you are creating architecture while you’re making pretty drawings. Architecture
is too hard. Pretty pictures are easier.”
5. According to Reyner Banham, what is the “New Brutalism”? Why was he critical of all the new “-
isms”? Use evidence from the Banham essay.
6. According to Reyner Banham, “the architect who proposes to run with technology knows that he will
be in fast company, and that, in .
This document provides an overview of topics to be covered in a class on cities, everyday life, and space as relationships. The topics include:
- Why cities are important in today's world with most people living in cities
- Studying cities and everyday life through various academic lenses
- How space is a social and political construction that reproduces power dynamics
- Different practices of mapping space, from traditional to more creative/experiential approaches
- Analyzing cities through film and how film has both represented and shaped perspectives of urban areas
- An assignment involving collaborative group work to cognitively map an area through non-traditional means.
Neo traditional Architectural and urban Design Practices .pdfToffik Abdela Hassen
The document discusses how modern architecture and urban planning emerged in the early 20th century. It argues that modernism was influenced not just by the aftermath of World War I, but also by the brain disorders and atypical ways of seeing the world of some of its key founders, such as Le Corbusier. Recent evidence suggests Le Corbusier may have had autism spectrum disorder, which could have impacted his preference for streamlined, simplified designs that reduced visual overload and focused on isolated buildings rather than complex urban contexts. This perspective provides new context for understanding the shift away from ornamented, detailed traditional architecture to the starker forms of modernism.
Week 10 in jeopardy idealism, authenticity, universality and the avant-gardeDeborahJ
The document discusses the legacy of modernism and modernity in art and architecture. It explores how modernist ideals of universality and utopian visions failed or were co-opted by commercial interests. Contemporary artists are now revisiting and critically reflecting on modernism in an attempt to both reanimate its radical possibilities and mourn what was lost. Examples are given of artists investigating themes of consensus, collapse, and the ruins left behind by once utopian modernist projects. The influence of modernist aesthetics and ideology are also examined in relation to how they still shape our world today.
1) Barcelona is located on Spain's northern Mediterranean coast, bounded naturally by rivers, the sea, and mountains. Over centuries it grew from a Roman settlement into a medieval walled city and then expanded on a grid plan in the 19th century.
2) In the 1980s, Barcelona faced urban decay but used the 1992 Olympics as catalyst for urban renewal, rebuilding neglected areas and connecting the city to its waterfront with new beaches, parks, and infrastructure.
3) Planner Oriol Bohigas led the transformation, using the Olympics to fund over 200 new public projects that inserted amenities into formerly derelict, high-crime neighborhoods.
Jacobs had no professional training in the field of city planning, nor did she hold the title of planner. Instead, she relied on her observations and common sense to show why certain places work, and what can be done to improve those that do not
Similar to 5 Rumors + 1 Vision (June25, 2013 @ NCTU) (20)
In Visible Cities: Taipei 在看得見的城市:台北-- 階段成果分享會Roy Lin
‘InVisibleCities’ is a self-initiated, experimental urban research project aiming to explore a new design approach incorporating data-driven thinking. It is a half-way manifesto, an open call for wider city innovation community to join together for better city making. We are keen to meet more data experts, urbanists, city innovators, designers, policy makers, and interest groups.
從前看不見的城市,現在我們有機會看見了,看見人們的情感、活動、記憶。從宏觀、理性到微觀、感性,跨專業的探索城市。"在看得見的城市:台北" 是一項自發性的都市研究計畫,利用台北市開放資料為基礎,以設計和策略的角度對台北提出倡議,並探索資料導向的設計方法。我們期待與更多同好交流。
contact: invisiblecities.info@gmail.com
Facebook search: In Visible Cities 在看得見的城市
Aug 3, 2013 Taipei @ Code for Tomorrow's Data Weekend.
Introducing "Urban Design" and why it's related to Urban Data. How does data utilization helps designer's decision making, and why designers and data engineers/scientists should collaborate.
GSD 2012 Fall Option Studio- Common Framework by Christopher Lee
The project is situated in the CBD site of east Xiamen. Architecturally, it rethinks the space for mixing working, living, and cooperation through manipulating the urban dominant type- Qilou. From the social point of view, the project is also the manifestation of the political circumstance between Xiamen (China) and Kinmen (Taiwan).
The original park proposed by HOK cuts the site into two halves. As the interpretation of shop houses in macro scale, two rolls of residential bars, which situated in between HOK buildings from each side, stretched inward and divided existing fabric into different urban pockets, leaving a large void space on ground level. The circular shape of the void area creates a superficial symbol of unification. The office units are scattered in the circular void area. Each office unit consists of an exterior space, a transitional corridor space, an interior space, and a shared space in the back. This is another interpretation of the shop house.
Considering the issue of Cross-Strait cooperation, the project argues against the sameness of conventional CBD and the notion of unification. Though its architecture creates an absolute and trans-scaling generic common framework for the entire site, the use of different landscape and variations in accessibility creates a softness and programmatic difference between the two sides. Within the common framework, the two sides interact. Yet through acknowledging and respecting the differences, the two sides gain benefits without decreasing their own values. That is the essence of cooperation.
The document discusses urban data mapping and provides examples of data maps from cities like New York, Singapore, and Honda. It describes how data mapping can be used as a design tool to identify issues and represent information. The document also outlines opportunities for designers to work with real-life urban context data that is open, historical, and user-generated in both instant and accumulated forms.
The document discusses design team culture at different companies. It notes that successful design teams are multi-disciplinary and project-based, with less hierarchy and more equality. These teams value ideas, research, documentation, knowledge sharing, creativity, and work-life balance. The culture of a design team is ultimately defined by the people who make up the team.
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活動錄影:
http://www.youtube.com/user/MacRoy74918?feature=mhee#p/u/26/Dgu7oxaUy_c
FB社團專頁:
https://www.facebook.com/interXdesign
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6. " Urban Design has reached
a dead end...While the task
grows in urgency and com-
plexity, the disciplinary main-
streaming of urban design has
transformed it from potentially
broad and hopeful conceptual
category into aincreasingly rig-
id, restrictive, and boring set of
orthodoxies."
-- Michale Sorkin, <The Ends of Ur-
ban Design>, Urban Design
14. Mohsen Mostafavi Pierre BelangerCharles Waldheim
LANDSCAPE
saves the world!
ECOLOGICAL
URBANISM
saves the world!
INFRASTRUCTURE
saves the world!
15. Mohsen Mostafavi Pierre BelangerCharles Waldheim
LANDSCAPE
saves the world!
ECOLOGICAL
URBANISM
saves the world!
INFRASTRUCTURE
saves the world!
Landscape
As
Infrastructure
19. We don’t have to
save the world!
What if we simply declare that there
is no crisis-redefine our relationship
with the city not as its makers but as
its mere subjects, as its supporters?
More than ever, the city is all we
have.
What Ever Happened to Urbanism-S,M,L,XLRem Koolhaas
21. “Now we are left with a world without ur-
banism, only architecture, ever more ar-
chitecture. The neatness of architecture
is its seduction; it defines, excludes, lim-
its, seperates from the “rest”-but it also
consumes....”
22. Generic City is about SAMENESS
Cities with no history, no culture, no
Difference.
26. “Together, all these breaks -
with scales,with architectural
composition, with tradition, with
transparency, with ethics-imply
the final, most radical break:
Bigness is no longer part of any
urban tissue.
It exists; at most, it coexists.
Its subtext is FUCK context.”
Bigness, S,M,L,XL
38. Geoffrey West
“ Give me the SIZE of
a city, any city in the
world. You name it!
I can tell you almost
EVERYTHING about
the city, even I’ve never
been there...”
54. " So when we talk about design today, and par-
ticularly when we read about it in the popular
press, we're often talking about products like
these. Amusing? Yes. Desirable? Maybe. Impor-
tant? Not so very. But this wasn't always the
way. And I'd like to suggest that if we take a
different view of design, and focus less on the
object and more on design thinking as an ap-
proach, that we actually might see the result
in a bigger impact. " ---Tim Brown, IDEO
57. "Maybe, architecture doesn't have to be stu-
pid after all. Liberated from the obligation
to construct, it can become a way of thinking
about anything - a discipline that represents
relationships, proportions, connections, effects,
the diagram of everything."
---Rem Koolhaas 2004, OMA