Introduction to Richard Rogers

2006 ◽  
Author(s):  
James Attlee ◽  
Richard Rogers
Keyword(s):  
Twentieth Century ◽  
Public Discourse ◽  
Urban Landscape ◽  
Urban Life ◽  
Political Issues ◽  
Interior Spaces ◽  
The Face ◽  
Late Twentieth ◽  
Trafalgar Square ◽  
The City

It is surprising how few architects have come to grips with the crisis that faces the contemporary city. Richard Rogers is an exception. Over the last thirty years or so, the buildings that have made Rogers famous have been, as much as anything, explorations of the principles that have concerned him: flexibility, modernity, inclusivity, and sustainability. At the same time, in his writings and public discourse, he has been a passionate advocate of the city as a place of social and intellectual interchange, a democratic and architecturally stimulating environment. This vision is rooted as much in the civic ideals of the Italian Renaissance—Rogers was born in Florence—as in the late twentieth-century avant-garde. Many of the changes to the public face of London that have taken place over the last decade—the opening up of the river and the pedestrianization of Trafalgar Square are two examples—were called for by Rogers in architectural proposals, writings, and public statements published since the 1980s. Architecture, he has argued, cannot be detached from social and political issues. Increasingly, his words have had a prophetic edge, befitting his senior status within the profession and the cultural life of the nation. As one of the best-known architects on the planet, Rogers, at least potentially, has the ear of both government and business, the twin agencies holding the future of the urban landscape in their hands. For this reason alone, what he has to say merits close attention. Rogers first came to international prominence with the opening of the Pompidou Centre in the Beauborg area of central Paris, designed with his then partner, Renzo Piano, in 1976. One of the key buildings of the twentieth century, it changed the face of the French capital, creating a new cultural heart of the city. Rogers’s banishment of services to external ducts, creating vast open interior spaces, was to become a trademark further developed in the Lloyds Building in London, completed in 1984. Both structures celebrate urban life and activity, although one is a public and one a private space. The Beauborg has been compared to a giant climbing frame.

scholarly journals Encuentros y Desencuentros de La Modernidad en Tegucigalpa, Siglo XIX y XX. / Agreements and disagreements of modernity in Tegucigalpa, Nineteenth and twentieth century

2017 ◽  
pp. 39-53
Author(s):  
Daniela Navarrete Calix
Keyword(s):  
Twentieth Century ◽  
Urban Landscape ◽  
Central American ◽  
Political Modernity ◽  
Urban Models ◽  
Late Twentieth ◽  
Siglo Xix ◽  
Siglo Xx ◽  
The City ◽  
Late Twentieth Century

RESUMENEste artículo analiza el impacto urbano que trajo la modernidad política aplicada a la ciudad de Tegucigalpa, capital de Honduras. Para ello comparamos diacrónicamente la transformación político-administrativa en este centro urbano: en el liberalismo del último cuarto del siglo XIX y principios del s. XX; y en el neoliberalismo de finales del siglo XX.  El discurso de los locutores de la modernidad liberal y neoliberal tendrá especial atención, pues vehicula los ideales de los gobernantes para alcanzar el progreso o desarrollo. Estos anhelos de modernidad se reflejan en el paisaje urbano encontrándose o no de los anhelos de los ciudadanos de esta capital centroamericana.Palabras clave: modernidad – (neo) liberalismo – modelos urbanos RESUMO Este artigo analisa o impacto urbano que trouxe modernidade política aplicada à cidade de Tegucigalpa, capital de Honduras. Para esta comparação diacronicamente a transformação político-administrativa neste centro urbano: no liberalismo do último quartel do século XIX e início do s. XX; eo neoliberalismo do final do século XX. O discurso dos oradores da modernidade liberal e neoliberal terá atenção especial, pois transmite os ideais dos governos para alcançar o progresso ou desenvolvimento. Esses anseios da modernidade são refletidos na paisagem urbana ou não corresponder às aspirações dos cidadãos desta capital centro-americana.Palavras-chave: modernidade - (neo) liberalismo – modelos Urbanos ABSTRACTThis article analyzes the urban impact that brought political modernity applied to the city of Tegucigalpa, capital of Honduras. For this we compare diachronically the political-administrative transformation in this urban center: during liberalism of the last quarter of the nineteenth century and early s. XX; and during the neoliberalism of the late twentieth century. The speech of the speakers of liberal and neoliberal modernity will have special attention, as conveys the ideals of governments to achieve progress or development. These yearnings of modernity are reflected in the urban landscape and of course meet and unmeet the aspirations of the citizens of this Central American capital.Keywords: modernity – (neo) liberalism – urban models 

scholarly journals Adaptive reuse process of the Historic Urban Landscape post-Covid-19. The potential of the inner areas for a “new normal”

2020 ◽  
Vol 5 (2) ◽  
pp. 87
Author(s):  
Maria Rita Pinto ◽  
Serena Viola ◽  
Katia Fabbricatti ◽  
Maria Giovanna Pacifico
Keyword(s):  
Urban Landscape ◽  
Adaptive Reuse ◽  
Health And Safety ◽  
Security Requirements ◽  
Health Security ◽  
Settlement Systems ◽  
The Past ◽  
The Face ◽  
The City ◽  
New Framework

<p class="Abstracttext-VITRUVIOCxSpFirst">Often in the past, the great disasters (environmental calamities, earthquakes, epidemics) activated unexpressed energies, triggering transformations of the built environment, able to give rise unexpected conditions of economic, cultural and social development. The fragility of settlement systems in the face of unexpected threats brings out the need for a new planning, changing our gaze on the city.</p><p class="Abstracttext-VITRUVIOCxSpMiddle">The new framework of needs drawn by the pandemic and the renewed sensitivity towards the combination of health – sustainability, rekindle the spotlight on inner areas. These emerged as "reservoirs of resilience", areas to look at, in order to reach an eco-systemic balance.</p><p class="Abstracttext-VITRUVIOCxSpMiddle">The aim of the paper is to return an experience of adaptive reuse of the Historical Urban Landscape in an inner area of Southern Italy, where the needs of health and safety of the community are integrated with the transmission of the built heritage to future generations. The goal is the promotion of inclusive prosperity scenarios, towards the so-called "new normality".</p><p class="Abstracttext-VITRUVIOCxSpLast">Starting from an in-depth literature review on the cases of pandemics in history and the strategies implemented, the research identifies health security requirements at the scale of the Historical Urban Landscape and design solutions aimed at reactivating lost synergies between communities and places.</p>

Detecting Disorder

2016 ◽  
Author(s):  
Lila Caimari
Keyword(s):  
Twentieth Century ◽  
Buenos Aires ◽  
New Technologies ◽  
Urban Life ◽  
The City

Keeping order in the city is the oldest of police duties. In the 1820s, the Policía de Buenos Aires adopted the image of a watchful eye as their emblem, placing the symbol on their medallions, badges, and letterhead. This institution “never slept.” Watching the city by day, watching it by night, the police attempted to give the appearance of being the ubiquitous eyes of authority. This chapter focuses on the crisis and subsequent resurrection of this ideal during the first decades of the twentieth century. It traces this history into the 1930s, when the police began using the new technologies—radios and patrol cars—that fundamentally altered methods of perceiving and collecting information on urban life.

Living with Commercial Sex

2021 ◽  
pp. 149-180
Author(s):  
Siobhán Hearne
Keyword(s):  
Twentieth Century ◽  
Urban Landscape ◽  
Negative Impact ◽  
Lower Class ◽  
Urban Life ◽  
Commercial Sex ◽  
Late Imperial ◽  
Imperial Period ◽  
Residency Restrictions ◽  
Imperial State

This chapter focuses on the experience of living in towns and cities in the late imperial period, when prostitution was a visible component of urban life. It examines the different unsuccessful policies employed by the imperial state to enforce the spatial segregation of registered prostitutes and attempts to render brothels invisible on the urban landscape. Official efforts to push lower-class sexuality to the spatial margins are also addressed, particularly policies of zoning and brothel ranking. Some landlords frequently complained to the police about the negative impact of nearby brothels on their rental prices, whereas others helped women who sold sex to resist some of the residency restrictions placed upon them by the police. Ultimately, officialdom’s attempts to limit the visibility of prostitution were spectacularly unsuccessful, as commercial sex was visible everywhere across the Empire’s towns and cities at the turn of the twentieth century.

The City in Film

2014 ◽  
Author(s):  
Pamela Robertson Wojcik
Keyword(s):  
New York ◽  
Los Angeles ◽  
Urban Landscape ◽  
Urban Life ◽  
Early Cinema ◽  
Romantic Comedy ◽  
Art Cinema ◽  
German Expressionism ◽  
Cinematic Space ◽  
The City

Cinema and the city are historically interrelated. The rise of cinema followed on the heels of urbanization and industrialization, and early cinema production and exhibition was largely urban. Moreover, the city has proved to be a rich and diverse cinematic setting and subject. Early cinema recorded scenes of urban life in actuality, melodrama, and City Symphonies. Gangster films, German expressionism, and Film Noir rendered an urban underworld; the musical and romantic comedy produced a more utopian view of the city; and art cinema rendered the everyday reality of urban life. Recent films imagine dystopic post-urban settings and, alternately, megacities populated by superheroes. The relationship between the cinema and the city can be examined in numerous ways. In part, cinema provides an urban archive or memory bank that reflects changes in the urban landscape. At the same time, cinema serves to produce the city, both literally—in the way that film production shapes Los Angeles, Mumbai, Rome, Hong Kong, and other centers of production—and also by producing an imaginary urbanism through the construction of both fantasy urban spaces and ideas and ideals of the city. Theorists suggest that there is an inherent urbanism to cinema. Kracauer 1997 (cited under General Overviews) claims the city, and especially the street, as exemplary and essential cinematic space, attuned to the experience of contingency, flow, and indeterminacy linked to modernity. Hansen 1999 (also cited under General Overviews) suggests that cinema worked as a kind of vernacular modernism to articulate and mediate the experience of modernity—and especially urbanization. More recently, attention to theories of space and urbanism across the academy have generated broad interest in cinematic urbanism. Much of this work brings film scholars into conversation with urban planners, geographers, and architects. Of course neither cinema nor the city is singular. Thus work on the city and film must attend to multiple global cities at different historical periods and, furthermore, consider that cinema produces multiple versions of even a single city, such as New York, as different narratives, genres, studios, directors, and individual films will each produce a different city. Some books and articles tangentially examine films set in cities. This article will include only those texts that have the urban sphere as a primary focus of their investigation.

The Virgin Mary and the People of Liguria: Image and Cult

2004 ◽  
Vol 39 ◽  
pp. 280-297
Author(s):  
Jane Garnett ◽  
Gervase Rosser
Keyword(s):  
Twentieth Century ◽  
Local Church ◽  
Large Scale ◽  
Church Leaders ◽  
Virgin Mary ◽  
Corpus Christi ◽  
The People ◽  
The Face ◽  
The City ◽  
The Church

We begin with an image, and a story. Explanation will emerge from what follows. Figure 1 depicts a huge wooden statue of the Virgin Mary, once the figurehead on the prow of a ship, but now on the high altar of the church of Saints Vittore and Carlo in Genoa, and venerated as Nostra Signora della Fortuna. On the night of 16-17 January 1636 a violent storm struck the port of Genoa. Many ships were wrecked. Among them was one called the Madonna della Pieta, which had the Virgin as its figurehead. A group of Genoese sailors bought this image as part of the salvage washed up from the sea. First setting it up under a votive painting of the Virgin in the harbour, they repaired it, had it repainted, and on the eve of Corpus Christi brought it to the church of San Vittore, close by the port. A famous blind song-writer was commissioned to write a song in honour of the image. Sailors and groups of young girls went through the streets of the city singing and collecting gifts. The statue became at once the focus of an extraordinary popular cult, thousands of people arriving day and night with candles, silver crowns, necklaces, and crosses in gratitude for the graces which had immediately begun to be granted. Volleys of mortars were let off in celebration. The affair was managed by the sailors who, in the face of mounting criticism and anxiety from local church leaders, directed devotions and even conducted exorcisms before the image. To stem the gathering tide of visitors and claims of miracles, and to try to establish control, the higher clergy first questioned the identity of the statue (some held it to represent, not the Virgin, but the Queen of England); then the statue was walled up; finally the church was closed altogether. Still, devotees climbed into the church, and large-scale demonstrations of protest were held. The archbishop instituted a process of investigation, in the course of which many eye-witnesses and people who claimed to have experienced miracles were interviewed (giving, in the surviving manuscript, rich detail of their responses to the image). Eventually the prohibition was lifted, and from 1637 until well into the twentieth century devotion to Nostra Signora della Fortuna remained strong, with frequent miracles or graces being recorded. So here we have a cult focused on an image of secular origin, transformed by the promotion of the sailors into a devotional object which roused the enthusiasm of thousands of lay people. It was a cult which, significantly, sprang up at a time of unrest in the city of Genoa, and which thus focused pressing issues of authority. The late 163os witnessed growing tension between factions of ‘old’ and ‘new’ nobility, the latter being marked by their hostility to the traditional Genoese Spanish alliance. Hostilities were played out both within the Senate and in clashes in the streets of the city. The cult of Nostra Signora della Fortuna grew up in this context, but survived and developed in subsequent centuries, attracting devotion from all over Italy.

scholarly journals Nature and image: a city in the art of Chernivtsi of the 20th – the beginning of the 21st century

2021 ◽  
pp. 149-153
Author(s):  
Iryna Mishchenko
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Urban Landscape ◽  
Urban Life ◽  
Subjective Perception ◽  
Urban Landscapes ◽  
Cultural Traditions ◽  
Early 21St Century ◽  
Iconic Images ◽  
The City

The purpose of this article is to consider the peculiarities of the reflection of the city – its architecture and inhabitants – in the works of Chernivtsi artists of the 20th and early 21st century, to analyze the differences between their views on the reproduction of urban motifs. The methodology consists in the application of the historical-chronological method, art analysis, and generalization, comparative and systematic approach. The scientific novelty lies in the introduction into scientific circulation of works by artists of the specified time, in understanding the evolution in the reflection of the city in the works of authors with various artistic orientations. Conclusions. In the paintings and graphics of the 20th – 21st centuries, several options for solving urban landscapes can be defined, among which the most common is a careful reflection of existing architectural monuments. In the 19th century in European art, in particular in Impressionist painting, the desire to convey not only the appearance but above all the spirit of the city became noticeable, depicting the townspeople, emphasizing the bustle or poetry of squares and streets. At the turn of the 20th-21st centuries the artists are no longer limited to the usual fixation of what is seen, but try to create a conceptual image of the city, to tell a story through iconic images and symbols, reveal their own position in particular and to preserve the authenticity of an object or the city in general. Such a variety of approaches for creating an urban landscape is partly due to differences in preferences formed during studies in art institutions and is also characteristic for the art of Chernivtsi – a city where people of many nationalities with different cultural traditions have lived side by side for centuries. Ultimately, the artists who worked here in the 20th century were often graduates not only of Ukrainian schools or universities, but also of well-known European institutions, including Vienna, Munich, Florentine, Berlin, Kraków, or Bucharest academies. While in the second half of the 19th – early 20th century the city often appears as the sum of certain architectural structures in the works of artists of Bukovina and visiting masters (F. Emery, R. Bernt, J. Shubirs), in the second half of the 19th – first third of the 20th century the artists mostly try to recreate the dynamics of urban life instead, sometimes depicted with a touch of irony, using the grotesque in the image of the inhabitants (lithography and watercolors by F.-K. Knapp, O. Laske and G. Löwendal). Subsequently, we meet emphasized mood images, in which the author's subjective perception of a particular motive, which he seeks to reproduce in a work full of emotions, is important (L. Kopelman, G. Gorbaty). A peculiar historical retrospection is present in the exquisite graphics of O. Kryvoruchko and in the distilled-finished sheets of O. Lyubkivsky, and the lyrical watercolors and sketches of N. Yarmolchuk represent the non-festive side of the city center. In O. Litvinov's paintings Chernivtsi surprises with desolation and restraint, and in M. Rybachuk's paintings it is distinguished by an unexpected riot of colors. Therefore, each of the artists creates his own image of Chernivtsi, which landscapes often become only a stimulus for the author's imagination, allowing him to depict a completely individual sense of space and life of the city.

scholarly journals TERRITORIAL EXPLORATION TO IMPLEMENT THE RECOMMENDATION ON HISTORIC URBAN LANDSCAPES FOR THE DEVELOPMENT AREA OF EL EJIDO IN CUENCA, ECUADOR

2020 ◽  
Vol XLIV-M-1-2020 ◽  
pp. 505-512
Author(s):  
S. Auquilla ◽  
M. Siguencia
Keyword(s):  
Urban Landscape ◽  
Specific Area ◽  
Management Plan ◽  
City Centre ◽  
Urban Landscapes ◽  
City Center ◽  
World Heritage List ◽  
The Face ◽  
Historic City ◽  
The City

Abstract. Cuenca in Ecuador is a growing city, weak in the face of the changes that the expansion phenomenon implies. The area of El Ejido was the first expansion area of the city with valuable samples of the arrival of modernity in the city. Nowadays, this sector is not exempted from the effects of urban growth and deserves to be managed through a proper management plan for its preservation. Degraded landscapes have been identified, modern heritage architecture shows clear symptoms of abandonment and low maintenance, causing the disappearance of historic buildings. Given these and other problems associated with urban development, Cuenca, like other cities, has taken the initiative of adopting the Recommendation on the Historic Urban Landscape (HUL) adopted by UNESCO in 2011, as a measure to safeguard urban heritage. In 2014, the implementation of this relatively new approach was first initiated in the pilot area of the Historic City Centre of Cuenca. This area was included in the World Heritage List in 1999 based on criteria II, IV, and V.However, aware of the significant heritage values embedded at El Ejido and its close urban and landscape link with the Historical City Center, the aim of this research is the implementation of the HUL’s approach in a specific area located in El Ejido. Due to the clear difference between this sector and the Historical City Center, it is necessary to assess the first methodology used and work on a methodology that can be extrapolated to this sector and further on to other sectors of the city. To obtain the methodology for this area, it is essential to carry out a territorial exploration in cities with similar characteristics to Cuenca that are implementing an approach based on the study of the Historical Urban Landscape Recommendation.

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