Introduction The City That Lost Its Soul

Author(s):  
Sharon Zukin

In the early years of the twenty-first century, New York City lost its soul. Some people doubt that the city ever had a soul, because New York has always grown by shedding its past, tearing down old neighborhoods and erecting new ones in their place, usually in a bare-faced struggle for financial gain. Others just shrug because, today, all big cities are erasing their gritty, bricks-and-mortar history to build a shiny vision of the future. Beijing, Shanghai, and other Chinese cities are clearing out the narrow, rundown alleys in their center, removing longtime residents to the distant edges of town, and replacing small, old houses with expensive apartments and new skyscrapers of spectacular design. Liverpool and Bilbao have torn down their abandoned waterfronts and turned aging docks and warehouses into modern art museums. In London, Paris, and New York artists and gentrifiers move into old immigrant areas, praising the working-class bars and take-out joints but overwhelming them with new cafés and boutiques, which are soon followed by brand-name chain stores. A universal rhetoric of upscale growth, based on both the economic power of capital and the state and the cultural power of the media and consumer tastes, is driving these changes and exposing a conflict between city dwellers’ desire for authentic origins—a traditional, mythical desire for roots—and their new beginnings: the continuous reinvention of communities. To speak of a city being authentic at all may seem absurd. Especially in a global capital like New York, neither people nor buildings have a chance to accumulate the patina of age. Most residents are not born there, neither do they live in the same house for generations, and the physical fabric of the city is constantly changing around them. In fact, all over the world, “Manhattanization” signifies everything in a city that is not thought to be authentic: high-rise buildings that grow taller every year, dense crowds where no one knows your name, high prices for inferior living conditions, and intense competition to be in style.

Author(s):  
Michael Sorkin ◽  
Graham Cairns

Sardonic, cutting, insightful, provocative: Michael Sorkin is one of today’s most radical architectural commentators with a staunch leaning to the political left and a literary bent for framing painful truths in ironic, and sometimes hilarious, verse. However, he should not be dismissed as a radical, isolated, or lone and unhindered voice however. He is a Distinguished Professor of Architecture and Director of the Graduate Program in Urban Design at the City College of New York, and he has been Professor of Urbanism and Director of the Institute of Urbanism at the Academy of Fine Arts, Vienna. In addition, he has taught at architecture schools across the world, including the Architectural Association, Columbia, Yale, Harvard and Cornell. Sorkin runs his own design studio and research institute and has been a contributing editor of the Architectural Record . He was the architecture critic of the Village Voice for ten years and has published innumerable articles and essays. A list of some of his books includes: Twenty Minutes in Manhattan , Variations on a Theme Park , Exquisite Corpse , The Next Jerusalem , Indefensible Space , and a long list of other etcs . and alsos ….In this interview-article, he offers his opinion on a range of issues, including the environmental threats to contemporary America, architectural symbolism and paranoia, the importance of political action on the streets of the modern city, and the role of the architecture critic in the complex tapestry of contemporary culture. With regard the position of the modern critic, he begins by responding to a question regarding the relevance of Noam Chomsky’s description of the media as a form of propaganda and the contemporary journalist as functioning through the structure of what Chomsky defines as “filters,” or constraints and biases that dictate what gets written and published in the press.


2002 ◽  
Vol 36 (1) ◽  
pp. 85-106 ◽  
Author(s):  
JUAN A. SUÁREZ

Reputedly, painter Charles Sheeler and photographer Paul Strand's Manhatta is the first significant title in the history of American avant-garde cinema. It is a seven-minute portrait of New York City and focuses on those features which make the city a modern megalopolis – the traffic, the crowds, the high-rise buildings, the engineering wonders, and the speed and dynamism of street life. The film strives to capture rhythmic and graphic patterns in the movements and shapes of cranes, trains, automobiles, boats, steam shovels, suspension bridges, and skyscrapers. Due to the dominance of technology, the entire urban landscape appears in the film as a machine-like aggregate of static and moving parts independent from human intention.


Author(s):  
T. Ivanenko ◽  
◽  
О. Mudalige ◽  

The article highlights the features of the font poster from the collection of “The 4th BLOCK: Museum, Archive, Laboratory” (further – “The 4th BLOСK: MAL”) by four leading contemporary designers from different cultural regions of the alphabetical writing system, namely: Paul Peter Piech (UK), Paula Troxler (Switzerland), Parisa Tashakori (Iran), Paula Scher (USA). Attention is paid to the peculiarities of their creative methods, experimental findings, specifics of compositional means and methods of font design. An attempt is made to assume and find out whether the mentality and worldview universals of each nation affect the specificity of cultural works of a particular country, in particular, the font used in the design of the poster. Thus, the fact that Paul Peter Piech belonged to English culture with its industrial orientation, the flourishing of the media business and labor movements, was reflected in the character of his font. Raised in the tradition of Swiss design, Paula Troxler deliberately destroys the spatial unity of the font composition. The unicity of Parisa Tashakori’s font posters lies in the attempt of the woman-designer to emphasize the contradictions in society between the need for emancipation and the need to return a woman to her traditional roles. The author, as the heir to the Iranian culture of calligraphic inscriptions, uses a single complex of font composition with the involvement of images. Paula Scher’s work is inspired by the urban graffiti language, the networked structure of New York streets and the geometric volumes of high-rise buildings. In the context of current trends and searches in the field of font posters, the prospects for further methodological analysis of the creative achievements in the design environment of individual countries and their awareness within the framework of the research nature of the work are identified. The directions in further research of the visual language of the font poster from the collection of the “The 4th BLOСK: MAL” are determined, taking into account the realities of “metamodernism”.


2021 ◽  
Author(s):  
Brad Miles

Toronto’s response to sprawl - and associated transportation issues is to hyper-intensify its core with high-rise condominium development in order to bring people closer to where they work. This intensification has brought new associated problems with the condominium tower which are: its tendency to interact with the city only at grade, creating vertical ‘gated communities’; the reliance upon a single unit type, overwhelming at-grade amenities; and the lack of programmatic and economic diversity for reinforcing urbanity. Towers in dense cities such as New York or Hong Kong have embraced pluralism and hybridity to combat segregation. Hybrid Social Condenser Tower is a critique of the condominium tower and a response to the context of urban infill tower development in downtown Toronto. The tower blends ground and roof by having a continuous circulation that moves up the building, connecting and juxtaposing program by interstitial spaces. This tower has been strategically located to provide urban amenities to a context that is lacking them and by doing so it attracts flux of users from both horizontal and vertical directions.


2002 ◽  
Vol 26 (2) ◽  
pp. 311-346 ◽  
Author(s):  
James Borchert ◽  
Susan Borchert

In a recent New York Times article, Robert Sharoff reported on “a throwback to the early years of the 20th century when wealthy Chicago families tended to live in such close-in neighborhoods as Prairie Avenue and theGold Coast.” For the past five years, wealthy Chicagoans have been constructing “palatial residences of at least 6,000 square feet” in the Lincoln Park neighborhood a mile and one-half north of the Loop (Sharoff 2000: 36). This “return” of the well-to-do to the city contradicts traditional urban theories on elite residential patterns; the preponderance of these theories projects the upper class universally and continuously seeking the metropolitan fringe for new homes, more and open land, and/or lower density (Burgess 1925; Hoyt 1939; Alonso 1964; Adams 1987; Downs 1981; Luger 1996; Lowry 1960; Hartshorn and Muller 1989; and Knox 1994).These theories, as well as the notion of the recent return of the upper class to the city, mask a long history of continuing elite residence within some cities as well as considerable diversity in upper-class residence patterns and landscapes among cities.


2009 ◽  
Vol 8 (1) ◽  
pp. 47-64 ◽  
Author(s):  
Sharon Zukin ◽  
Valerie Trujillo ◽  
Peter Frase ◽  
Danielle Jackson ◽  
Tim Recuber ◽  
...  

Since the 1970s, certain types of upscale restaurants, cafés, and stores have emerged as highly visible signs of gentrification in cities all over the world. Taking Harlem and Williamsburg as field sites, we explore the role of these new stores and services (“boutiques”) as agents of change in New York City through data on changing composition of retail and services, interviews with new store owners, and discursive analysis of print media. Since the 1990s, the share of boutiques, including those owned by small local chains, has dramatically increased, while the share of corporate capital (large chain stores) has increased somewhat, and the share of traditional local stores and services has greatly declined. the media, state, and quasi–public organizations all value boutiques, which they see as symbols and agents of revitalization. Meanwhile, new retail investors—many, in Harlem, from the new black middle class—are actively changing the social class and ethnic character of the neighborhoods. Despite owners’ responsiveness to community identity and racial solidarity, “boutiquing” calls attention to displacement of local retail stores and services on which long–term, lower class residents rely and to the state's failure to take responsibility for their retention, especially in a time of economic crisis.


2016 ◽  
Vol 2 (2) ◽  
pp. 80
Author(s):  
Daniel Weeks

This paper investigates the civil unrest that rocked the New Jersey resort city of Asbury Park for four days in July 1970. It focuses particularly on how various participants and the media represented the violent events in the West Side of the city. These representations, which were publicized in the <em>Asbury Park Press</em>, the <em>New York Times</em>, and elsewhere, demonstrate two interrelated dynamics. First, that in attempting to characterize the events in Asbury Park—either as a criminal riot or justifiable revolt—participants on all sides resorted to well-worn stereotypes, and second, that these stereotypes, once publicized in the media, began to shape events in the city in consequential ways. This study also demonstrates that the civil unrest moved through several phases—from a teenage “rock and bottle festival” to a true revolt against discrimination, segregation, and the general conditions of the ghetto.


1999 ◽  
Vol 8 (3) ◽  
pp. 379-394 ◽  
Author(s):  
John Foot

The early years of state television in Italy, which began transmission in 1954, have usually been viewed as crucial to the spread of mass culture through Italian society. In addition, these developments have essentially been seen in negative terms by historians and sociologists. This article explores these early years in detail for one, key, urban setting: Milan. Through an examination of the myriad and often hidden effects of television, the research attempts to draw out the contradictory and complicated impact of TV and its relationship with other media, the neighbourhood, the family, the home and daily life. The article also looks at the impact of one important quiz show in the 1950s and concludes with some reflections on the power of the media in the city in the 1990s.


2021 ◽  
Author(s):  
Brad Miles

Toronto’s response to sprawl - and associated transportation issues is to hyper-intensify its core with high-rise condominium development in order to bring people closer to where they work. This intensification has brought new associated problems with the condominium tower which are: its tendency to interact with the city only at grade, creating vertical ‘gated communities’; the reliance upon a single unit type, overwhelming at-grade amenities; and the lack of programmatic and economic diversity for reinforcing urbanity. Towers in dense cities such as New York or Hong Kong have embraced pluralism and hybridity to combat segregation. Hybrid Social Condenser Tower is a critique of the condominium tower and a response to the context of urban infill tower development in downtown Toronto. The tower blends ground and roof by having a continuous circulation that moves up the building, connecting and juxtaposing program by interstitial spaces. This tower has been strategically located to provide urban amenities to a context that is lacking them and by doing so it attracts flux of users from both horizontal and vertical directions.


1982 ◽  
Vol 16 (1) ◽  
pp. 5-24 ◽  
Author(s):  
John R. Stilgoe

Zenith comprises three cities. At the outskirts is Floral Heights, a streetcar suburb of Dutch colonial houses three miles from downtown. Central Zenith, a commercial-retail focus of fireproof ten- to thirty-five-story office towers of Indiana limestone or yellow brick and stores selling everything from dictaphones to scarves, hums with speculative prosperity. On suburb and downtown Sinclair Lewis focuses almost all of the action of his 1922 novel Babbitt. But between Floral Heights and Babbitt's high-rise real estate office is a third city, an industrial zone Lewis calls South Zenith, although it encircles the city center. South Zenith is “a high-colored, banging, exciting region: new factories of hollow tile with gigantic wire-glass windows, surly old red-brick factories stained with tar, high-perched water tanks, big red trucks like locomotives, and, on a score of hectic side-tracks, far-wandering freight-cars from the New York Central and apple orchards, the Great Northern and wheat-plateaus, the Southern Pacific and orange groves.” It is a place of foundries, automobile factories, shops where five thousand men work under one roof, a place threaded with high-speed railroads.However much reviewers argued about the character of Babbitt and his lifestyle, philosophy, and usefulness as a “type,” few questioned the setting of the novel. Indeed, newspapers in five cities, Cincinnati, Kansas City, Milwaukee, Duluth, and Minneapolis, each proclaimed that its municipality was the prototype of Zenith, and Minneapolis actually celebrated a “Babbitt Week.”


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