Central Florida entertainment complex Universal Orlando is building a transit-oriented theme park. The company announced that its land of fun—the U.S.'s first big amusement park since 2001—is hoping to link up with local passenger rail service Virgin Trains to ferry customers to and from Miami.Virgin Trains (formerly known as the Brightline) is a privately owned transit company that began providing high-speed rail service between Miami, Fort Lauderdale, and West Palm Beach in 2018. It would link to the park via a stop at Orange County Convention Center, which is steps away from the proposed main entrance to Epic Universe. Universal Orlando has been lobbying the company to provide a connection to the new park. Universal Parks and Resorts CEO Tom Williams told Next Miami that his company will push "with every bit of strength that we’ve got" for the rail connection. Outside of its possible amusement park involvement, the south Florida train company is on a major growth spurt. There are plans for a Tampa, Florida expansion, and by 2022, Orlando Airport–bound passengers will be able to travel directly from Miami. There should also be service to Orlando's Walt Disney World soon: construction on a Disney train station began in May. Conde Nast Traveler reported that the 750-acre Epic Universe will boast restaurants, retail, entertainment, and a hotel across four realms, each with their own separate entrance. There's no word yet on an opening date or the types of attractions that will be contained within its walls, but it's likely that Nintendo and Harry Potter content will feature prominently. But that's okay for all you NUMTOTS—the only thing you need to know is that you won't need a car to get there.
Search results for "jane jacobs"
The co-ops are alright
Co-op City celebrates 50 years of affordable housing in the Bronx
Architecture critics Inga Saffron and Robert Campbell receive the 2018 Vincent Scully Prize
Brooklyn's East River waterfront is defining itself in unexpected ways
Eyes on the Cranes
Developer may tear down Jane Jacobs' West Village Houses
A Great Recoding
Ambitious "Well-Tempered City" explains what makes cities work, from ancient Mesopotamia to Lagos and New York City
As a certain New York real estate figure thrusts a set of unpalatable values down the national throat, another local developer’s ideas are entering public discourse for better reasons. Jonathan Rose is, in important senses, the Antidrumpf: a developer who views the building of communities as an ethically consequential profession. He applies knowledge from nature and intercultural history to benefit entire populations. He advocates resilient development in sane, mature, well-evidenced, and convincing terms.
One finishes The Well-Tempered City with respect for a substantial contribution to the urbanist literature—and with the impression that in an administration dedicated to planetary and institutional stewardship, not plunder and bluster, Rose would merit a cabinet-level appointment. (Interior? HUD? Energy? A polymath like Rose could lead any of these departments.) The Well-Tempered City stands alongside works by Jane Jacobs, Lewis Mumford, and Christopher Alexander, deserving influence and implementation.
The enduring fivefold path
With ambitious scope and explanatory clarity, Rose offers a unified theory of urban history grounded in five core concepts: coherence, circularity, resilience, community, and compassion. He also identifies nine variables critical to the rise of ancient cities: cognition, cooperation, culture, calories (energy), connectivity, commerce, control, complexity, and concentration.
The alliterations may imply a professorial top-down scheme, but Rose infers the nine C-concepts from historical studies before elucidating how stagnation or resilience depends on “urban operating systems” promoting the five principles. Cities that manage resource flows efficiently, generate socially beneficial incentives, and respond to shocks have thrived (e.g., today’s Copenhagen or Singapore, the altitude-adaptive village of Shey, Tibet, or the flexibly organized cities of Islam’s golden age). Wasteful, dis- or over-organized, militaristic, and parasitic cities (e.g., imperial Rome) have ossified and decayed.
Rose distinguishes complication from complexity: the former merely reflects scale, while the latter describes volatile conditions where small inputs trigger large outputs. The acronym VUCA (volatility, uncertainty, complexity, and ambiguity), he contends, describes urban as well as biological systems. Design suited to a VUCA environment will avoid the oversimplifications of 19th- and 20th-century planning by incorporating feedback phenomena and by continually adjusting incentives, technologies, balances among market and public-sector mechanisms, and other determinants of civic well-being. Ecosystems’ cyclical resource metabolisms are particularly important, avoiding linear extract-and-discard economies.
Déjà vu will kick in for readers of Jacobs, whose Death and Life chapter “The Kind of Problem a City Is” drew on Warren Weaver’s observations about “problems in organized complexity.” To this foundation Rose adds a broad familiarity with global cultural practices, evolutionary biology, archaeology, cognitive science, and network theory: He has the intellectual discipline to be usefully interdisciplinary.
Discussing how the efficiency metric of energy return on investment (the ratio of usable energy generated to energy spent creating it) correlates with civilizations’ rise and fall, he notes how China’s recent agricultural practices resemble those that doomed Rome for a thousand years; how New York, Detroit, Lagos, and Baltimore have benefited from better data collection; and how a Big Mac takes seven times as much energy to produce as it provides to its consumer. One strong chapter, “The Cognitive Ecology of Opportunity,” links the neurohormonal threat response of the hypothalamic-pituitary-adrenal axis to environments that traumatize children, exacerbated by exposure to neurotoxins such as lead, producing vicious cycles of maladaptation and social isolation. Tragic cases like Freddie Gray’s death in a struggle with Baltimore police illuminate interwoven civic and individual pathologies.
Taking the polis in for a tune-up
Rose’s master metaphor is the tuning system popularized by Bach’s Well-Tempered Clavier, an advance beyond Pythagorean “just intonation” (grounded in astronomic-mathematical ratios and generating beautiful scales within each key, but unable to change keys without discord). Music from the baroque through bebop is inconceivable without it. Bach didn’t invent equal tempering; Rose scrupulously credits the discovery to Ming prince Zhu Zaiyu’s Fusion of Music and Calendar (1580), brought to Europe by a traveling monk and incorporated into German music theory by Andreas Werckmeister (1687), then into practice, gloriously, by Bach.
Conceiving harmony broadly, Rose looks to Mesopotamia for another key (if unfortunately named) concept. The societal codes that the Ubaid civilization (5500-4000 BCE) considered divinely ordained, known in Sumerian as meh, are the archetype for subsequent codes found across world history. Rose finds similar operating-system principles in Chinese nine-square geometric urban forms, Lübeck Law regulating trade in the Hanseatic League, and contemporary Smart Growth codes. Conversely, when civilizations embrace a poorly designed code—as when the Federal Housing Administration incorporated racist residential legislation into redlining, or when Chicago School economics ignores environmental externalities or network-scale Nash equilibria, in which choices maximizing individual benefits produce worse outcomes than coordinated choices do—disharmonies are inevitable: congestion, impoverishment, waste, and disease.
Socioeconomic reharmonization requires a comprehension of how codes handle inputs and outputs. Humanity’s mandate is thus to approximate nature’s advanced harmonies. Rose’s spiritually oriented conclusion points out how the Hebrew concept tikkun olam (“repairing the world”) has cognates across cultures. Humanity, he finds, has “evolved with an innate metacode” in which “altruism flows through every bit of a city’s interdependent social and cognitive ecologies, and is embedded in the morality of its systems.”
The audience that needs Rose’s analysis most drastically may be the least prepared for it. “Meh” in current parlance also names the shoulder-shrugging indifference of the incurious to anything beyond their truncated attention spans. Recent electoral results inspire little confidence that American society can decode principles observable in Uruk, Göbekli Tepe, and Chengzhou, and act on them purposefully. In his November 9 AIANY book talk, Rose emphasized how increasing immiseration in poorly built cities requires more comprehension of history and the sciences than partisan politics could muster: “I don’t believe either side of the election had the intellectual capital to deal with this.”
If Rose’s tempering theory omits anything vital, it may be a recognition of evil: Another synonym for the civic distempers flowing from greed and fear. Yet in accentuating the positive, the connectedness that has outlived such distempers, he reinforces our sense of harmony even in out-of-tune times.
The Well-Tempered City: What Modern Science, Ancient Civilizations, and Human Nature Teach Us About the Future of Urban Life Jonathan F. P. Rose Harper Wave, 2016, $29.99
[UPDATE 5/5/17, MAS President Elizabeth Goldstein issued this response to UPROSE, but as one Brooklynite put it, "Jane herself must have intervened by arranging the weather to rain out today's walking tour."]
The Municipal Art Society of New York (MAS) will host its annual tribute to Jane Jacobs with a series of free guided tours around the city from May 5 to 7.
One of these tours, referred to by the society as "Jane's Walk," will explore the proposed Brooklyn–Queens Connector (BQX) waterfront light rail link. However, that tour is now coming under attack by local residents due to be served by the proposed rail service.
Elizabeth Yeampierre, executive director of Uprose, Brooklyn's oldest Puerto Rican community–based organization, has written an open letter protesting the walk. In the letter, Yeampierre asks: "What would Jane Jacobs do if she were alive today and learned that real estate developers had appropriated the Municipal Arts Society’s 2017 Jane’s Walk to promote a $2.5 billion streetcar that will deliberately gentrify communities for their own benefit?"
Yempierre’s letter is addressed to MAS’s new president, Elizabeth Goldstein, and asks that they rethink this particular tour. Furthermore, Yeampierre asks, "are your board members invested in these developments along this corridor? We hope there is no conflict of interest."
The light rail plan is not a simple one and MAS may be innocent, but its leadership and board has just been through a bruising battle with its own membership, a process that saw the firing of its last president. One wonders who is running the Society. They should not be sponsoring tours like this without first reaching out to the residents of the community in which the take place or pass through.
On MAS's website, a description of the event reads: "All of the MAS-sponsored walks combine the simple act of exploring neighborhoods with personal observations, local history, and civic engagement. A typical walk is 90 minutes and is free and open to the public."
Can Tampa undo its Post-War planning mistakes while embracing its environment? This competition explored how.
The (Re) Stitch Tampa project was initially conceptualized during 2010 around the advent of the announcement of what was to be the first high-speed rail line in the U.S. The Obama Administration had just announced as part of its “New” New Deal program that the region was to receive $1.2 billion in federal monies earmarked for the construction of a high-speed rail line along the Tampa-Orlando corridor. The program was reminiscent of Franklin D. Roosevelt’s WPA program, during the great Depression, where the federal government funded large-scale public infrastructural projects with the intent of jump-starting the economy. In Florida, such projects included the Rural Electrification Program of rural farms, running wire to over 54,000 farms, and the development of much of the Florida State Park System.  Plan Tampa, a post-war coastal American city, was reeling from the worst recession since the great Depression. Arguably, it was also located in one of the regions the greatest impacted in the country by the 2008 economic bust and mortgage crisis. The region had developed around car privileging infrastructures and an economy predicated principally on real estate and its speculative practices. The real-estate bubble had burst hard here, where real-estate speculation and flipping were part of the main sources of the economy. It was not uncommon, beginning in 2007 and continuing onwards, to see hand-crafted signs dotting the on and off ramps of Tampa’s highway infrastructures and byways of the city advertising short-sale, foreclosed houses, or offering flat-out cash for houses. “We buy up houses-$50,000.00 each and 3 for…”  By 2011, however, this “New” New Deal in the form of high-speed rail infrastructure had been squashed, and the $1.2 billion of federal monies returned to the federal government. The stymying of the project had been largely due to the prevailing anti-smart and, arguably, anti-urban politics which did not support the funding of public transportation. This was even despite the efforts of mayors in the six cities who would be positively impacted by the high-speed rail system, who self-organized at a local-regional level to accept the federal monies, although in the end they were not able to do so. The aggregated land for the high-speed rail station in Tampa was also left vacant, left to return back to nature. Therein existed other such aggregated plots of land or “land-banking” which had occurred at the height of the real-estate boom, such as on the north end of the Riverwalk, the northern anchor of the competition project site, where the developer had acquired and aggregated land and had then, subsequently, gone bankrupt. The Trolley Barn-Armature Works lay in decay, as a relic of the post-industrial landscape, and the former affluent trolley-car suburb and trolley system which was one of the most successful in the U.S. before it was ripped-up and replaced by the roads of the predominant automobile culture. This aggregated lot lay in urban decay; the ecology and the biodiversity returning back to it and recovering the site’s natural landscape. This urban aggregate added to the 50% of surface parking, as well as to the additional vacancies in the downtown core. The focus of the competition brief shifted, at this moment, to a critical re-thinking of the ebbs and flows of circulation and movement throughout the city, and how these might contribute to a more sustainable development and ecological practices. The competition brief posed the question, how might the re-calibrating of infrastructure serve as an opportunity to re-choreograph the flows and the movements of people and habitat to and from its natural lifeline running through the city, and how might it bring the River into the city? Paradoxically, the recession and the mortgage crisis with its foreclosures, vacancies, and halted development, had actually provided an opportunity to take stock, as well as to critically reassess a legacy during the 20th century of largely unsustainable building and development practices and seemingly unlimited growth, much of which was eating up valuable wetlands and ecologically sensitive lands. Unsustainable land development practices had been catalyzed by the rationalization of the pumping system. Dredging, as well as the canalization of swamplands pushed by real-estate speculation and tourism, had largely trashed the natural environment and its ecologies. Further, the invention of air conditioning had perpetuated the development of housing typologies divorced from their natural systems and local ecologies, dissimilar to Florida’s earlier vernacular housing typologies, such as the Florida Dogtrot. The Dogtrot’s design was more integrated with passive design strategies, such as breezeways as well as the natural Florida landscape. The competition also prompted a re-thinking of the current oppositional relationship of the city to its water, as well as the potential to re-stitch, re-cover and re-claim the landscape of the Post-War Coastal American City through Ecologies. Tampa—the Beginnings of the Post-War Coastal American City Unlike their counterparts to the North, the Sunbelt coastal cities of the south, including Tampa, did not experience the same overarching opposition to the top-down urban renewal planning practices of the 1950s, largely inspired by the Modernist City. During the 1960s, freeway revolts occurred in many American cities, opposing the byproducts of the 1958 Federal Highway Act, which included cutting highway infrastructure through swathes of the city in order to expedite commuters out to the suburbs. The post-war suburbs had been federally subsidized in the form of inexpensive mortgages to returning war vets from World War Two. Jane Jacobs, author of the seminal text, The Death and Life of Great American Cities, successfully organized her community to oppose and subsequently defeat Robert Moses’ attempt to bulldoze part of the West Village in New York City with a cross-town expressway infrastructure. Further, grassroots community opposition to urban renewal projects and the bulldozing of Boston’s historic West End and Scollay Square, as well as New York City’s Penn Station, lay the groundwork for the bottom-up preservation movement of cities and their historic fabric beginning in the 1950s. It also ushered in the establishment of the National Park Service in the U.S. Tampa’s period of urban renewal happened later, in the 1960s and 70s. Unlike their northern counterparts, many of the community leaders in the districts designated for urban renewal actually embraced it, as opposed to attempting to fight it, such as in Tampa’s Ybor City. As Tampa historian Emanuel Leto writes, “these projects were also motivated, in part, by racial divisions within urban communities, and the desire for segregation in districts and enclaves of the city.” The erasure of one such community known as “the Scrub,” was one of the three major urban renewal projects carried out by Tampa in the 1960s as part of the Federal Urban Renewal program. Its name came from its natural landscape, referring to the territory outside of the protected Fort Brooke boundary which was settled by white settlers, and referred to the small brush-like vegetation of scrub and Florida brush. The area was settled by freed African-American slaves and the neighborhood had a vibrant music scene, including Ray Charles and Ella Fitzgerald. The inhabitants were relocated to public housing and the city became largely zoned as single use as part of the CBD (Central Business District), with highway infrastructure cutting through the urban fabric, carrying people out to the suburbs in the wetlands and the reclaimed swamplands, which lay beyond a middle landscape of trolley suburbs, largely vacated. Tampa as the Ecological City Prior to the period of urban renewal which radically transformed the urban space and fabric of Tampa, the settlement of the area had a much more intrinsic relationship to the landscape and its natural ecologies, living more symbiotically with the Tampa Bay natural estuary. Historical natural atlases and guides of Tampa from the turn of the 20th century boasted in their descriptions of Tampa’s natural landscape, as well as its estuary. “People came from miles around to eat the fish and oysters out of the Tampa Bay.” Such sites as Sulphur Springs, located further north up the Hillsborough River were, in fact, natural springs where people came from afar for their natural healing powers. Other sites of intrigue included an alligator farm adjacent to the natural spring. The site became contaminated and trashed in the middle part of the 20th century, however, although ecological remediation and recovery is currently being undertaken in the area by the City. Competition Brief The competition brief is premised on a critique of the failings of the post-war American City, the prevailing traces and conditions of which can be seen in Tampa. The brief also calls for resilient design strategies, which address its coastal location, as well as the re-articulation of its land-water edge between the city and the water. It proposes possible design strategies, which might begin to de-construct, de-engineer, as well as to de-laminate the previous infrastructures that are part of the legacy of these predominantly short-sited planning strategies. The competition framed a re-thinking and re-programming, as well as the re-articulation and re-consideration of the possible occupation of infrastructures operating at a large-scale. (Re)stitch Tampa serves as a research platform. The publication serves as a useful toolkit and handbook for disseminating design strategies which both design for resiliency, as well as addressing the conditions which are resultant from the failings of the policies around the post-war American city, and their unintended consequences. Designers are trained to be strategic, innovative and tactical in design, as well as having the ability to synthesize multi-scalar systems, and to conceptualize multiple scenarios for different conditions. The brief also encouraged designers to work across a spectrum of design scales, while addressing issues of recovering a landscape. Arguably, the state of Florida and its coastal cities will be some of those the worst impacted in the U.S. by sea level rise and climate change. Whereas human settlement and inhabitation in these locations initially co-existed in a much more symbiotic relationship with their natural landscapes and ecologies, the natural geography of this territory writ-large has been significantly impacted and altered by a manufactured landscape. Design strategies can also build on new modes of design representation, employing mapping as a process of design research. The competition brief challenged designers to develop schemes addressing the perceived failings of the post-war American city, offering solutions for the vacancies from previous failed urban renewal programs, and the ensuing urban decay and flight from the city. Perhaps, most importantly, it is the ability of design to act in a milieu not possessing the political will or agency to address the pressing issues of sea-level rise and climate change in coastal cities. The schemes should offer design strategies, which lie in more symbiotic relationships between city and nature, including the Hillsborough River and the Tampa Bay and its estuary. It should be noted, however, that recent trends currently show, in fact, the population to be actually increasing as migration flows of the Baby Boomer retirement generation move to Sunbelt coastal cities seeking warmer climates and cheaper housing prices than those available in the North.
AN Editors' gift picks
Dark Age Ahead was Jane Jacobs’s last and perhaps most dystopian book. In it, she foretells the nationalist, anti-neoliberal political wave sweeping the western world today. Jacobs explains our current situation as a necessary crisis resulting from our transition toward a technology-focused society.
Jason Sayer, Editorial AssistantBudget Brutalism When your love for concrete is bound only by your wallet then you’ll be pleased to know of Polish firm Zupagrafika and British artist Oscar Francis. If you feel like recreating your own Brutalist block, Zupagrafika has you covered with a cardboard edition of Ernő Goldfinger’s Balfron Tower (also known as Trellick Tower). If that doesn’t take your fancy, Oscar Francis’s wash bag comes enamored with a print of Sulkin House in Hackney, north east London on it. Art Deco Wrapping paper Art Deco and geometry go hand-in-hand so the style seems ready-made to be used for pattern work, in this case, on wrapping paper. This subtle approach will most likely bring a warm smile to most design types before they’ve even opened your gift. Just make sure the gift is as good! Frank Lloyd Wright Bird Feeder Frank Lloyd wright had an affinity for the natural world, often celebrating it in his work—Falling Water being the most obvious example. "Study nature, love nature, stay close to nature. It will never fail you,” he once said. Now you can feed Frank’s feathered friends with this bird feeder whose glass artwork emulates patterns found in the architect's Darwin D. Martin house in Buffalo. Audrey Wachs, Associate Editor
Stop. Close your forest of Amazon Prime tabs right now, and make a gift to nonprofits that make our built environment more just, equitable, and beautiful. Better yet, make a donation for the architect in your life: She has enough crap already, and you get a tax deduction. Win-win, right? Here’s a few suggestions:If you care about fairness and equity in the field, become a member of the Architecture Lobby. The national organization promotes the value of architecture in the public realm and advocates for structural change within the profession to produce better working conditions. For general donations, the group’s Architecture Initiative funds public forums and the Lobby’s educational mission. To the uninitiated, gender and architecture have more synergy than meets the eye. Organizations like QSPACE, a queer architectural research organization based at the New Museum’s NEW INC, center sexuality and gender in its analysis of the built environment. In addition to donations, the group, founded this year by GSAPP grads, also solicits technical expertise for ongoing projects. QSPACE isn’t the only group accepting in-kind donations. In the wake of the Oakland warehouse fire that killed 36 people, architects Melissa J. Frost and Susan Surface founded national nonprofit Safer Spaces to help artist-run venues and live/work lofts get up to code. Right now, the group is soliciting donations of fire extinguishers, smoke alarms, and other fire prevention tools, as well building services, project assistance, and plain old-fashioned cash. Check out their local meet-ups and skill-share document here. For the architect-urbanist, a great way to give back to your city is a gift to your nearest Community Development Corporation (CDC). These nonprofit, hyperlocal organizations typically operate in disinvested, low-income neighborhoods to develop affordable housing, spur economic development, plan neighborhoods, and make streets beautiful. There are CDCs in nearly every city, and for New Yorkers, this list from NYU’s Furman Center is a good place to start.