Urban Renewal. City Council's Designation of "Slum Area" for Redevelopment Project Is Conclusive on Court despite Allegations of Fraud and Arbitrariness. Allen v. City Council (Ga. 1960)

1961 ◽  
Vol 74 (4) ◽  
pp. 799
Keyword(s):  
2018 ◽  
pp. 69-88
Author(s):  
Lawrence J. Vale

Chapters 3–5 focus on New Orleans to illustrate one dominant strand of HOPE VI practice—the confluence of a weak housing authority and a Big Developer governance constellation in a city without a robust tradition of coordinated tenant empowerment. Chapter 3 traces the rise and fall of the St. Thomas development, completed in 1941 and later extended in 1952. This replaced a mixed-race “slum” area with public housing for white tenants, an act entailing a substantial neighborhood purge. The fifteen-hundred-unit development shifted to primarily black occupancy following desegregation in the 1960s and subsequently underwent disinvestment that led to a protracted decline. Meanwhile, the Louisiana legislature rescinded the state enabling legislation for urban renewal, thereby limiting its impact on both slum clearance while also curtailing the rise of community organizing. White preservationists stopped the Riverfront Expressway, but no one stopped Interstate 10 from devastating a black neighborhood.


2014 ◽  
Vol 39 (2) ◽  
pp. 6-13
Author(s):  
Lars A. Engberg

The City of Copenhagen aims to become the first carbon neutral capital in the world by 2025. Ten per cent of the total CO2-reduction target is to be achieved through energy retrofitting of existing buildings in the city. This article reports from an action research study in the urban renewal section in Copenhagen City Council where planners struggle to promote more and better energy retrofitting projects in the urban renewal scheme. The study finds that planners in fact approach green retrofitting as a ‘wicked problem’ that requires new solution strategies targeting the complexity of developing new retrofitting standards and solutions in the existing urban renewal framework. The analysis shows how planners’ strategic responses are challenged by competing worldviews concerning the role of urban renewal and the problems and potentials of green retrofitting in practice.


2020 ◽  

This publication contains the reflections and proposals made within the framework of the 2018–2019 University of Zaragoza Master of Architecture programme. Continuing on from the work of previous years on other districts of the city of Zaragoza we refer to as ‘inner peripheries’, particularly those com- prising the so-called ‘Orla Este’ (‘eastern fringe’) – the neighbourhoods of San José and Las Fuentes – this time the team of students and teaching staff involved turned their focus to the Torrero-La Paz dis- trict. This area of the city has problems similar to those previously studied, as they are distinguished by depopulation and ageing, in other words, the tendency to lose inhabitants, particularly younger generations. Moreover, its physical structure is characterised by a congested network of streets, high population density, a scarcity of green spaces and facilities, and the poor design of existing public spaces and deficiencies in the standards of construction of many of its buildings. All of this is reflec- ted in the proliferation of urban fabrics in the process of becoming obsolete, which may lead to the appearance of pockets of vulnerability. Nonetheless, the diagnostic exercises undertaken have also allowed the potential of the district to be identified. This publication contains the proposals for urban renewal and building restoration based on the interventions to improve public spaces and dwellings, in addition to facilities, traffic management and public parking spaces. In a nutshell, all those aspects that we can include within the broad concept of urban renewal and with the aim of progressing towards a much-improved neighbourhood. The publication of this book was made possible by the collaboration agreement between Zaragoza City Council, through Zaragoza Vivienda, and the School of Engineering and Architecture of the University of Zaragoza.


2007 ◽  
Vol 14 (2) ◽  
pp. 79-91 ◽  
Author(s):  
Kelly McWilliam

The Brisbane Powerhouse was reopened in 2000, an election year for the Brisbane City Council, by then Lord Mayor Councillor Jim Soorley. Built in a decommissioned power station, the ‘Centre for the Arts’ was one of the culminations of Soorley's $4 billion Urban Renewal Program (‘About Urban Renewal’). It was also a major — $22 million worth, to be precise — addition to the Brisbane arts scene (Buzacott: 11). It is of particular interest, then, that one of the highest profile events of the Brisbane Powerhouse's inaugural program was the first screening of the Brisbane Queer Film and Video Weekend (now the Brisbane Queer Film Festival or ‘BQFF’). Now in its eighth year, and still screened at the Brisbane Powerhouse, the BQFF continues to be Queensland's only regular public film festival dedicated to explicitly queer films. But at a time when queer film festivals around the world are under increasing pressure to disband, given claims that ‘queer’ is supposedly such an accepted part of mainstream media that separate events are superfluous, what role — if any — does the BQFF have in Brisbane's and Queensland's queer culture (see Rich 2006)?


2018 ◽  
Vol 17 (1) ◽  
pp. 117-138
Author(s):  
Anna White-Nockleby

This article reexamines the aesthetics of the cut through cinema that challenges the possibility of totality. Looking back at films of demolitions in two Iberian cities, the author considers how cuts – both architectural and cinematic – reveal fissures created by urban renewal projects that preceded global crisis. En construcción ( Work in Progress, 2001) by the Catalan filmmaker José Luis Guerín follows the reconstruction of Barcelona’s neighborhood ‘El Raval’, while Portuguese director Pedro Costa’s No Quarto da Vanda ( In Vanda’s Room, 2000) films residents in a slum area of Lisbon as their houses are slowly demolished. By attending to neighborhoods that were ‘cut out of’ the urban landscape, these films contest the representation of unified cityscapes, exposing the fractures underlying economic development. The films also provide new ways to understand the ambivalent aesthetics of the cut, which both violently wounds the surface and exposes what lies behind. I will argue that ultimately thresholds produced by the cut speak to the ethical ambiguities of filmmaking, in which the camera inevitably alters whatever it views, thus exposing the textured incompleteness of the image.


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