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Despite a modest revival in city living, Americans are spreading out more than ever—into "exurbs" and "boomburbs" miles from anywhere, in big houses in big subdivisions. We cling to the notion of safer neighborhoods and better schools, but what we get, argues Anthony Flint, is long commutes, crushing gas prices and higher taxes—and a landscape of strip malls and office(...)
This land : the battle over sprawl and the future of America
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Despite a modest revival in city living, Americans are spreading out more than ever—into "exurbs" and "boomburbs" miles from anywhere, in big houses in big subdivisions. We cling to the notion of safer neighborhoods and better schools, but what we get, argues Anthony Flint, is long commutes, crushing gas prices and higher taxes—and a landscape of strip malls and office parks badly in need of a makeover. "This land" tells the untold story of development in America—how the landscape is shaped by a furious clash of political, economic and cultural forces. It is the story of burgeoning anti-sprawl movement, a 1960s-style revolution of New Urbanism, smart growth, and green building. And it is the story of landowners fighting back on the basis of property rights, with free-market libertarians, homebuilders, road pavers, financial institutions, and even the lawn-care industry right alongside them. The subdivisions and extra-wide roadways are encroaching into the wetlands of Florida, ranchlands in Texas, and the desert outside Phoenix and Las Vegas. But with up to 120 million more people in the country by 2050, will the spread-out pattern cave in on itself? Could Americans embrace a new approach to development if it made sense for them?
Théorie de l’urbanisme
In praise of copying
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This book is devoted to a deceptively simple but original argument : that copying is an essential part of being human, that the ability to copy is worthy of celebration, and that, without recognizing how integral copying is to being human, we cannot understand ourselves or the world we live in. In spite of the laws, stigmas, and anxieties attached to it, the word(...)
In praise of copying
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This book is devoted to a deceptively simple but original argument : that copying is an essential part of being human, that the ability to copy is worthy of celebration, and that, without recognizing how integral copying is to being human, we cannot understand ourselves or the world we live in. In spite of the laws, stigmas, and anxieties attached to it, the word “copying” permeates contemporary culture, shaping discourse on issues from hip hop to digitization to gender reassignment, and is particularly crucial in legal debates concerning intellectual property and copyright. Yet as a philosophical concept, copying remains poorly understood. Working comparatively across cultures and times, Marcus Boon undertakes an examination of what this word means — historically, culturally, philosophically — and why it fills us with fear and fascination. He argues that the dominant legal-political structures that define copying today obscure much broader processes of imitation that have constituted human communities for ages and continue to shape various subcultures today. Drawing on contemporary art, music and film, the history of aesthetics, critical theory, and Buddhist philosophy and practice, In Praise of Copying seeks to show how and why copying works, what the sources of its power are, and the political stakes of renegotiating the way we value copying in the age of globalization.
Théorie/ philosophie
In praise of copying
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This book is devoted to a deceptively simple but original argument: that copying is an essential part of being human, that the ability to copy is worthy of celebration, and that, without recognizing how integral copying is to being human, we cannot understand ourselves or the world we live in. In spite of the laws, stigmas, and anxieties attached to it, the word(...)
In praise of copying
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This book is devoted to a deceptively simple but original argument: that copying is an essential part of being human, that the ability to copy is worthy of celebration, and that, without recognizing how integral copying is to being human, we cannot understand ourselves or the world we live in. In spite of the laws, stigmas, and anxieties attached to it, the word “copying” permeates contemporary culture, shaping discourse on issues from hip hop to digitization to gender reassignment, and is particularly crucial in legal debates concerning intellectual property and copyright. Yet as a philosophical concept, copying remains poorly understood. Working comparatively across cultures and times, Marcus Boon undertakes an examination of what this word means—historically, culturally, philosophically—and why it fills us with fear and fascination. He argues that the dominant legal-political structures that define copying today obscure much broader processes of imitation that have constituted human communities for ages and continue to shape various subcultures today. Drawing on contemporary art, music and film, the history of aesthetics, critical theory, and Buddhist philosophy and practice, In Praise of Copying seeks to show how and why copying works, what the sources of its power are, and the political stakes of renegotiating the way we value copying in the age of globalization.
Théorie/ philosophie
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American cities entered a new phase when, beginning in the 1950s, artists and developers looked upon a decaying industrial zone in Lower Manhattan and saw, not blight, but opportunity: cheap rents, lax regulation, and wide open spaces. Thus, SoHo was born. From 1960 to 1980, residents transformed the industrial neighborhood into an artist district, creating the conditions(...)
The lofts of SoHo: gentrification, art and industry in New York 1950-1980
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American cities entered a new phase when, beginning in the 1950s, artists and developers looked upon a decaying industrial zone in Lower Manhattan and saw, not blight, but opportunity: cheap rents, lax regulation, and wide open spaces. Thus, SoHo was born. From 1960 to 1980, residents transformed the industrial neighborhood into an artist district, creating the conditions under which it evolved into an upper-income, gentrified area. Introducing the idea—still potent in city planning today—that art could be harnessed to drive municipal prosperity, SoHo was the forerunner of gentrified districts in cities nationwide, spawning the notion of the creative class. In The Lofts of SoHo, Aaron Shkuda studies the transition of the district from industrial space to artists’ enclave to affluent residential area, focusing on the legacy of urban renewal in and around SoHo and the growth of artist-led redevelopment. Shkuda explores conflicts between residents and property owners and analyzes the city’s embrace of the once-illegal loft conversion as an urban development strategy. As Shkuda explains, artists eventually lost control of SoHo’s development, but over several decades they nonetheless forced scholars, policymakers, and the general public to take them seriously as critical actors in the twentieth-century American city.
Théorie de l’urbanisme
livres
Description:
192 pages : illustrations (some color), plans (some color) ; 31 cm
Basel : Birkhäuser, ©2011.
Material design : informing architecture by materiality / Thomas Schropfer ; with a foreword by Erwin Viray ; and contributions by James Carpenter [and others].
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192 pages : illustrations (some color), plans (some color) ; 31 cm
livres
Basel : Birkhäuser, ©2011.
livres
Once within borders : territories of power, wealth, and belonging since 1500 / Charles S. Maier.
Description:
xiii, 387 pages : illustrations, maps ; 25 cm
Cambridge, Massachusetts : The Belknap Press of Harvard University Press, [2016]
Once within borders : territories of power, wealth, and belonging since 1500 / Charles S. Maier.
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xiii, 387 pages : illustrations, maps ; 25 cm
livres
Cambridge, Massachusetts : The Belknap Press of Harvard University Press, [2016]
livres
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xv, 233 pages : illustrations ; 24 cm
London ; New York, NY : Routledge, 2012.
Writing the modern city : literature, architecture, modernity / edited by Sarah Edwards and Jonathan Charley.
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xv, 233 pages : illustrations ; 24 cm
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London ; New York, NY : Routledge, 2012.
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American cities, once economic and social launch pads for their residents, are all too often plagued by poverty and decay. One need only to look at the ruins of Detroit to see how far some once-great cities have fallen, or to Boston and San Francisco for evidence that such decline is reversible. In Boom Towns, Stephen J.K. Walters diagnoses the root causes of urban(...)
Boom towns: restoring the urban american dream
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American cities, once economic and social launch pads for their residents, are all too often plagued by poverty and decay. One need only to look at the ruins of Detroit to see how far some once-great cities have fallen, or to Boston and San Francisco for evidence that such decline is reversible. In Boom Towns, Stephen J.K. Walters diagnoses the root causes of urban decline in order to prescribe remedies that will enable cities to thrive once again. Arguing that commonplace explanations for urban decay misunderstand the nature our towns, Walters reconceives of cities as dense accumulations of capital in all of its forms — places that attract people by making their labor more productive and their leisure more pleasurable. Policymakers, therefore, must properly define and enforce property rights in order to prevent the flight of capital and the resulting demise of urban centers. Using vivid evocations of iconic towns and the people who crucially affected their destinies, Walters shows how public policy measures which aim to revitalize often do more harm than good. He then outlines a more promising set of policies to remedy the capital shortage that continues to afflict many cities and needlessly limit their residents' opportunities. With its fresh interpretation of one of the American quandaries of our day, Boom Towns offers a novel contribution to the debate about American cities and a program for their restoration.
Théorie de l’urbanisme
Scapegoat 04: currency
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Currency is structured by a fundamental contradiction between its necessary circulation and its stubborn foundation in sovereign territories. On the one hand, it is designed to represent value and facilitate its exchange in standardized, fungible units; on the other, its relative scarcity generates a strong incentive to hoard it, withdrawing and storing its value,(...)
Scapegoat 04: currency
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Currency is structured by a fundamental contradiction between its necessary circulation and its stubborn foundation in sovereign territories. On the one hand, it is designed to represent value and facilitate its exchange in standardized, fungible units; on the other, its relative scarcity generates a strong incentive to hoard it, withdrawing and storing its value, converting it into fixed assets such as property whose existence relies on the same institutions of coercion that maintain national borders. Today's globalized capitalism only exacerbates this paradox. The ascendency of finance capital in North America and Europe has created a condition where the accumulation of capital is based almost purely on speculation, and money is multiplied through its circulation. At the same time, the struggle to secure the territories and bodies that guarantee it has become ever more desperate as civilian spaces have been more and more militarized. The result has been an increasingly complex space of value, where the borders that produce its distinctions are no longer located at a nation's edges, but rather lie both within and beyond it. The diverse contributions to Scapegoat's fifth issue, Currency, investigate these contradictory tendencies within the spatiality of currency and present ways that they can be resisted. We follow a line that runs from the material to the immaterial, exploring divergent scales and topologies in the process.
Revues
livres
Description:
x, 611 pages : illustrations (some color), facsimiles, maps, portraits ; 25 cm
New York : Columbia University Press, [2022], ©2022
Before Central Park / Sara Cedar Miller.
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x, 611 pages : illustrations (some color), facsimiles, maps, portraits ; 25 cm
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New York : Columbia University Press, [2022], ©2022