Podcast appearances and mentions of Jane Jacobs

Entre las recomendaciones comenzamos con el primer ensayo, ´Necesidad de la literatura´ del escritor Emilio Lledó, este libro es una forma de entretenimiento que sirve como herramienta de pensamiento y de construcción que aporta un pensamiento renovador. La siguiente obra es 'Muerte y vida de las grandes ciudades´ de la escritora Jane Jacobs, este libro se publicó en el año 1961. Plantea un debate sobre como las grandes ciudades van deshumanizando la sociedad o destruyen esa cierta vitalidad. Con respecto a la literatura nos encontramos con ´Los Burnell´ de la escritora Katherine Mansfield, nos abre la puerta de la casa de los Burnell que cuenta con tres relatos donde se ve reflejado la frustración y la rabia que hay detrás de la apariencia serena de Linda, atrapada en el papel de madre y esposa ideal, a la inocencia de sus tres hijas. Por otro lado encontramos ´La gran serpiente´ del autor Pierre Lemaitre, se trata de un thriller de humor negro, donde se relata como un hombre ha sido asesinado y se sospecha de una dulce señora de 60 años, esta historia esta ambientada en París.Por últimos, las novedades para el día del libro: ´La increíble historia del Chimponauta´ de David Walliams, es estilo cómic que cuenta las aventuras del Chimpancé Tito. ´La escuela de etiqueta Millicient Quibb para jóvenes científicas chifladas´ de Kate Mckinnon, libro juvenil, que trata sobre tres chicas que no encajan en ninguna escuela hasta que llegan a una y tienen que llevar a cabo una misión. ´Murdle Junior - Casos curiosos para mentes curiosas´ de G.t. Karber, se trata de 40 misterios que se deben ir resolviendo con una lectura pausada y tomando apuntes de los datos.

Today's guest is Peter Moskos, a professor at John Jay College of Criminal Justice. He spent two years as a police officer in Baltimore. I asked him to come on and talk about his new book, Back from the Brink, Inside the NYPD and New York City's Extraordinary 1990s Crime Drop. It's one of my favorite books I've read this year (and it was one of my three book recommendations on Ezra Klein's show last week).Peter spoke with hundreds of police officers and NYC officials to understand and describe exactly how the city's leaders in the early 1990s managed to drive down crime so successfully.We discussed:* How bad did things get in the 1970s?* Why did processing an arrest take so long?* What did Bill Bratton and other key leaders do differently?* How did police get rid of the squeegee men?I've included my reading list at the bottom of this piece. Thanks to Harry Fletcher-Wood for his judicious transcript edits.Subscribe for one new interview a week.Peter, how would you describe yourself?I would say I'm a criminologist: my background is sociology, but I am not in the sociology department. I'm not so big on theory, and sociology has a lot of theory. I was a grad student at Harvard in sociology and worked as a police officer [in Baltimore] and that became my dissertation and first book, Cop in the Hood. I've somewhat banked my career on those 20 months in the police department.Not a lot of sociologists spend a couple of years working a police beat.It's generally frowned upon, both for methodological reasons and issues of bias. But there is also an ideological opposition in a lot of academia to policing. It's seen as going to the dark side and something to be condemned, not understood.Sociologists said crime can't go down unless we fix society first. It's caused by poverty, racism, unemployment, and social and economic factors — they're called the root causes. But they don't seem to have a great impact on crime, as important as they are. When I'm in grad school, murders dropped 30-40% in New York City. At the same time, Mayor Giuliani is slashing social spending, and poverty is increasing. The whole academic field is just wrong. I thought it an interesting field to get into.We're going to talk about your new book, which is called Back from the Brink, Inside the NYPD and New York City's Extraordinary 1990s Crime Drop. I had a blast reading it. Tell me about the process of writing it.A lot of this is oral history, basically. But supposedly people don't like buying books that are called oral histories. It is told entirely from the perspective of police officers who were on the job at the time. I would not pretend I talked to everyone, because there were 30,000+ cops around, but I spoke to many cops and to all the major players involved in the 1990s crime drop in New York City.I was born in the ‘90s, and I had no idea about a crazy statistic you cite: 25% of the entire national crime decline was attributable to New York City's crime decline.In one year, yeah. One of the things people say to diminish the role of policing is that the crime drop happened everywhere — and it did end up happening almost everywhere. But I think that is partly because what happened in New York City was a lot of hard work, but it wasn't that complicated. It was very easy to propagate, and people came to New York to find out what was going on. You could see results, literally in a matter of months.It happened first in New York City. Really, it happened first in the subways and that's interesting, because if crime goes down in the subways [which, at the time, fell under the separate New York City Transit Police] and not in the rest of the city, you say, “What is going on in the subways that is unique?” It was the exact same strategies and leadership that later transformed the NYPD [New York Police Department].Set the scene: What was the state of crime and disorder in New York in the ‘70s and into the ‘80s?Long story short, it was bad. Crime in New York was a big problem from the late ‘60s up to the mid ‘90s, and the ‘70s is when the people who became the leaders started their careers. So these were defining moments. The city was almost bankrupt in 1975 and laid off 5,000 cops; 3,000 for a long period of time. That was arguably the nadir. It scarred the police department and the city.Eventually, the city got its finances in order and came to the realization that “we've got a big crime problem too.” That crime problem really came to a head with crack cocaine. Robberies peaked in New York City in 1980. There were above 100,000 robberies in 1981, and those are just reported robberies. A lot of people get robbed and just say, “It's not worth it to report,” or, “I'm going to work,” or, “Cops aren't going to do anything.” The number of robberies and car thefts was amazingly high. The trauma, the impact on the city and on urban space, and people's perception of fear, all comes from that. If you're afraid of crime, it's high up on the hierarchy of needs.To some extent, those lessons have been lost or forgotten. Last year there were 16,600 [robberies], which is a huge increase from a few years ago, but we're still talking an 85% reduction compared to the worst years. It supposedly wasn't possible. What I wanted to get into in Back from the Brink was the actual mechanisms of the crime drop. I did about fifty formal interviews and hundreds of informal interviews building the story. By and large, people were telling the same story.In 1975, the city almost goes bankrupt. It's cutting costs everywhere, and it lays off more than 5,000 cops, about 20% of the force, in one day. There's not a new police academy class until 1979, four years later. Talk to me about where the NYPD was at that time.They were retrenched, and the cops were demoralized because “This is how the city treats us?” The actual process of laying off the cops itself was just brutal: they went to work, and were told once they got to work that they were no longer cops. “Give me your badge, give me your gun."The city also was dealing with crime, disorder, and racial unrest. The police department was worried about corruption, which was a legacy of the Knapp Commission [which investigated NYPD corruption] and [Frank] Serpico [a whistleblowing officer]. It's an old police adage, that if you don't work, you can't get in trouble. That became very much the standard way of doing things. Keep your head low, stay out of trouble, and you'll collect your paycheck and go home.You talk about the blackout in 1977, when much of the city lost power and you have widespread looting and arson. 13,000 off-duty cops get called in during the emergency, and only about 5,000 show up, which is a remarkable sign of the state of morale.The person in my book who's talking about that is Louis Anemone. He showed up because his neighbor and friend and partner was there, and he's got to help him. It was very much an in-the-foxholes experience. I contrast that with the more recent blackout, in which the city went and had a big block party instead. That is reflective of the change that happened in the city.In the mid-80s you get the crack cocaine epidemic. Talk to me about how police respond.From a political perspective, that era coincided with David Dinkins as [New York City's first black] mayor. He was universally disliked, to put it mildly, by white and black police officers alike. He was seen as hands off. He was elected in part to improve racial relations in New York City, to mitigate racial strife, but in Crown Heights and Washington Heights, there were riots, and racial relations got worse. He failed at the level he was supposed to be good at. Crime and quality of life were the major issues in that election.Dinkins's approach to the violence is centered around what they called “community policing.” Will you describe how Dinkins and political leaders in the late ‘80s and early ‘90s thought about policing?This is under Ben Ward, the [NYPD] Commissioner at the time. The mayor appoints the police commissioner — and the buck does stop with the mayor — but the mayor is not actively involved in day-to-day operations. That part does go down to the police department.Community policing was seen as an attempt to improve relations between the police and the community. The real goal was to lessen racial strife and unrest between black (and to a lesser extent Hispanic) communities and the NYPD. Going back to the ‘60s, New York had been rocked by continued unrest in neighborhoods like Central Harlem, East New York, and Bushwick. Community policing was seen as saying that police are partly to blame, and we want to improve relations. Some of it was an attempt to get the community more involved in crime fighting.It's tough. It involves a certain rosy view of the community, but that part of the community isn't causing the problems. It avoids the fact there are people who are actively criming and are willing to hurt people who get in their way. Community policing doesn't really address the active criminal element, that is a small part of any community, including high-crime communities.Arrests increased drastically during this era, more than in the ‘90s with broken windows policing. If the idea is to have fewer arrests, it didn't happen in the ‘80s. Some good came out of it, because it did encourage cops to be a bit more active and cops are incentivized by overtime. Arrests were so incredibly time-consuming, which kind of defeated the purpose of community policing. If you made an arrest in that era, there was a good chance you might spend literally 24 hours processing the arrest.Will you describe what goes into that 24 hours?From my experience policing in Baltimore, I knew arrests were time-consuming and paperwork redundant, but I could process a simple arrest in an hour or two. Even a complicated one that involved juveniles and guns and drugs, we're talking six to eight hours.In the ‘80s, Bob Davin, [in the] Transit Police, would say they'd make an arrest, process at the local precinct, search him in front of a desk officer, print him, and then they would have to get a radio car off patrol to drive you down to central booking at 100 Centre Street [New York City Criminal Court]. Then they would fingerprint him. They didn't have the live scan fingerprints machine, it was all ink. It had to be faxed up to Albany and the FBI to see if it hit on any warrant federally and for positive identification of the person. Sometimes it took 12 hours to have the prints come back and the perp would be remanded until that time. Then you'd have to wait for the prosecutor to get their act together and to review all the paperwork. You couldn't consider bail unless the prints came back either positive or negative and then you would have that initial arraignment and the cop could then go home. There are a lot of moving parts, and they moved at a glacial pace.The system often doesn't work 24/7. A lot of this has changed, but some of it was having to wait until 9 am for people to show up to go to work, because it's not a single system. The courts, the jails, and policing all march to their own drummer, and that created a level of inefficiency.So much of the nitty-gritty of what cops actually do is boring, behind-the-scenes stuff: How do we speed up the paperwork? Can we group prisoners together? Can we do some of this at the police station instead of taking it downtown? Is all of this necessary? Can we cooperate with the various prosecutors? There are five different prosecutors in New York City, one for each borough.There's not a great incentive to streamline this. Cops enjoyed the overtime. That's one of the reasons they would make arrests. So during this time, if a cop makes an arrest for drug dealing, that cop is gone and no cop was there to replace him. If it's a minor arrest, there's a good chance in the long run charges will be dropped anyway. And you're taking cops off the street. In that sense, it's lose-lose. But, you have to think, “What's the alternative?”Bob Davin is a fascinating guy. There's a famous picture from 1981 by Martha Cooper of two cops on a subway train. It's graffitied up and they're in their leather jackets and look like cops from the ‘70s. Martha Cooper graciously gave me permission to use the picture, but she said, "You have to indemnify me because I don't have a release form. I don't know who the cops are." I said, "Martha, I do know who the cop is, because he's in my book and he loves the picture.” Bob Davin is the cop on the right.Davin says that things started to get more efficient. They had hub sites in the late ‘80s or ‘90s, so precincts in the north of Manhattan could bring their prisoners there, and you wouldn't have to take a car out of service to go back to Central Booking and deal with traffic. They started collecting prisoners and bringing them en masse on a small school bus, and that would cut into overtime. Then moving to electronic scan fingerprints drastically saves time waiting for those to come back.These improvements were made, but some of them involve collective bargaining with unions, to limit overtime and arrests that are made for the pure purpose of overtime. You want cops making arrests for the right reason and not simply to make money. But boy, there was a lot of money made in arrests.In 1991, you have the infamous Crown Heights riot in Brooklyn. Racial tensions kick off. It's a nightmare for the mayor, there's this sense that he has lost control. The following year, you have this infamous police protest at City Hall where it becomes clear the relationship between the cops and the mayor has totally evaporated. How does all that play into the mayoral race between Dinkins and Giuliani?It was unintentional, but a lot of the blame for Crown Heights falls on the police department. The part of the story that is better known is that there was a procession for a Hasidic rabbi that was led by a police car. He would go to his wife's grave, and he got a little three-car motorcade. At some point, the police look at this and go "Why are we doing this? We're going to change it." The man who made the deal said ‘I"m retiring in a couple weeks, can we just leave it till then? Because I gave him my word." They're like, "Alright, whatever."This motor car procession is then involved in a car crash, and a young child named Gavin Cato is killed, and another girl is severely injured. The volunteer, Jewish-run ambulance shows up and decides they don't have the equipment: they call for a professional city ambulance. Once that ambulance is on the way, they take the mildly-injured Jewish people to the hospital. The rumor starts that the Jewish ambulance abandoned the black children to die.This isn't the first incident. There's long been strife over property and who the landlord is. But this was the spark that set off riots. A young Jewish man was randomly attacked on the street and was killed.As an aside, he also shouldn't have died, but at the hospital they missed internal bleeding.Meanwhile, the police department has no real leadership at the time. One chief is going to retire, another is on vacation, a third doesn't know what he's doing, and basically everyone is afraid to do anything. So police do nothing. They pull back, and you have three days of very anti-Semitic riots. Crowds chanting "Kill the Jews" and marching on the Lubavitch Hasidic Headquarters. Al Sharpton shows up. The riots are blamed on Dinkins, which is partly fair, but a lot of that's on the NYPD. Finally, the mayor and the police commissioner go to see what's going on and they get attacked. It's the only time in New York City history that there's ever been an emergency call from the police commissioner's car. People are throwing rocks at it.It took three days to realise this, but that's when they say “We have to do something here,” and they gather a group of officers who later become many of Bratton's main chiefs at the time [Bill Bratton was Commissioner of the NYPD from 1994-1996, under Giuliani]: Mike Julian, Louis Anemone, Ray Kelly, and [John] Timoney. They end the unrest in a day. They allow people to march, they get the police department to set rules. It still goes on for a bit, but no one gets hurt after that, and that's it.It was a huge, national story at the time, but a lot of the details were not covered. Reporters were taken from their car and beaten and stripped. The significance was downplayed at the time, especially by the New York Times, I would say.That's followed by the Washington Heights riots, which is a different story. A drug dealer was shot and killed by cops. There were rumors, which were proven to be false, that he was executed and unarmed. Then there were three days of rioting there. It wasn't quite as severe, but 53 cops were hurt, 120 stores were set on fire, and Mayor Dinkins paid for the victim's family to go to the Dominican Republic for the funeral. The police perspective again was, “You're picking the wrong side here.”Then there's the so-called Police Riot at City Hall. Nominally, it was about the CCRB, the Civilian Complaint Review Board, and setting up an accountability mechanism to control cops. But really it was just an anti-Dinkins protest. It was drunken and unruly. The cops stormed the steps of City Hall. I have the account of one of the cops who was on the top of those steps looking at this mob of cops storming to him, and he's getting worried he's going to be killed in a crush. There were racist chants from off-duty cops in the crowd. It did not reflect well on police officers. But it showed this hatred of David Dinkins, who was seen as siding with criminals and being anti-police. The irony is that Dinkins is the one who ends up hiring all the cops that Giuliani gets credit for.In the “Safe Streets, Safe City” program?Yes. That was because a white tourist, Brian Watkins, was killed in a subway station protecting his parents who were getting robbed. That led to the famous headline [in the New York Post] of “Dave, do something! Crime-ravaged city cries out for help.” He, with City Council President Peter Vallone, Sr., drafted and pushed through this massive hiring of police officers, “Safe Streets, Safe City.”The hiring wasn't fast-tracked. It might be because Dinkins's people didn't really want more cops. But it was a Dinkins push that got a massive hiring of cops. When the first huge class of police officers graduated, Bill Bratton was there and not David Dinkins.Some interviewees in your book talk about how there's physically not enough room in the police academies at this time, so they have to run classes 24/7. You cycle cohorts in and out of the same classroom, because there are too many new cops for the facilities.You have thousands of cops going through it at once. Everyone describes it as quite a chaotic scene. But it would have been hard to do what the NYPD did without those cops. Ray Kelly, who was police commissioner under Dinkins at the end [from 1992 to 1994] before he became police commissioner for 12 years under Bloomberg [from 2002 to 2013] probably could have done something with those cops too, but he never had the chance, because the mayoral leadership at the time was much more limiting in what they wanted cops to do.Crime starts declining slowly in the first few years of the ‘90s under Dinkins, and then in ‘93 Giuliani wins a squeaker of a mayoral election against Dinkins.One of the major issues was the then-notorious “squeegee men” of New York City. These were guys who would go to cars stopped at bridges and tunnel entrances and would rub a squeegee over the windshield asking for money. It was unpleasant, intimidating, and unwanted, and it was seen as one of those things that were just inevitable. Like graffiti on the subway in the ‘80s. Nothing we can do about it because these poor people don't have jobs or housing or whatever.The irony is that Bratton and Giuliani were happy to take credit for that, and it was an issue in the mayoral campaign, but it was solved under David Dinkins and Ray Kelly and Mike Julian with the help of George Kelling [who, with James Wilson, came up with broken windows theory]. But they never got credit for it. One wonders if, had they done that just a few months earlier, it would have shifted the entire campaign and we'd have a different course of history in New York City.It's a great example of a couple of things that several people in your book talk about. One is that disorder is often caused by a very small set of individuals. There's only like 70 squeegee men, yet everybody sees them, because they're posted up at the main tunnel and bridge entrances to Manhattan. And getting them off the streets solves the problem entirely.Another emphasis in the book is how perceptions of crime are central. You quote Jack Maple, the father of Compstat, as saying, “A murder on the subway counts as a multiple murder up on the street, because everybody feels like that's their subway.” The particular locations of crimes really affect public perception.Absolutely. Perception is reality for a lot of these things, because most people aren't victimized by crime. But when people perceive that no one is in control they feel less safe. It's not that this perception is false, it just might not be directly related to an actual criminal act.The other thing I try to show is that it's not just saying, “We've got to get rid of squeegee men. How do you do it?” They had tried before, but this is why you need smart cops and good leadership, because it's a problem-solving technique, and the way to get rid of graffiti is different to the way you get rid of squeegee men.This book is in opposition to those who just say, “We can't police our way out of this problem.” No, we can. We can't police our way out of every problem. But if you define the problem as, we don't want people at intersections with squeegees, of course we can police our way out of the problem, using legal constitutional tools. You need the political will. And then the hard work starts, because you have to figure out how to actually do it.Will you describe how they tackle the squeegee men problem?Mike Julian was behind it. They hired George Kelling, who's known for broken windows. They said, “These people are here to make money. So to just go there and make a few arrests isn't going to solve the problem.” First of all, he had to figure out what legal authority [to use], and he used Traffic Reg 44 [which prohibits pedestrians from soliciting vehicle occupants]. He talked to Norm Siegel of the NYCLU [New York Civil Liberties Union] about this, who did not want this crackdown to happen. But Norman said, “Okay, this is the law, I can't fight that one. You're doing it legally. It's all in the books.” And So that took away that opposition.But the relentless part of it is key. First they filmed people. Then, when it came to enforcement, they warned people. Then they cited people, and anybody that was left they arrested. They did not have to arrest many people, because the key is they did this every four hours. It was that that changed behavior, because even a simple arrest isn't going to necessarily deter someone if it's a productive way to make money. But being out there every four hours for a couple of weeks or months was enough to get people to do something else. What that something else is, we still don't know, but we solved the squeegee problem.So in 93, Giuliani is elected by something like 50,000 votes overall. Just as an aside, in Prince of the City, Fred Siegel describes something I had no idea about. There's a Puerto Rican Democratic Councilman who flips and supports Giuliani. Mayor Eric Adams, who at the time was the head of a nonprofit for black men in law enforcement, calls him a race traitor for doing that and for being married to a white woman. There was a remarkable level of racial vitriol in that race that I totally missed.10 years ago when I started this, I asked if I could interview then-Brooklyn borough president Eric Adams, and he said yes, and the interview kept getting rescheduled, and I said, “Eh, I don't need him.” It's a regret of mine. I should have pursued that, but coulda, woulda, shoulda.Giuliani is elected, and he campaigns very explicitly on a reducing crime and disorder platform. And he hires Bill Bratton. Tell me about Bratton coming on board as NYPD commissioner.Bratton grew up in Boston, was a police officer there, became head of the New York City Transit Police when that was a separate police department. Right before he becomes NYPD Commissioner, he's back in Boston, as the Chief of Police there, and there is a movement among certain people to get Bratton the NYC job. They succeed in that, and Bratton is a very confident man. He very much took a broken windows approach and said, “We are going to focus on crime.” He has a right-hand man by the name of Jack Maple who he knows from the Transit Police. Maple is just a lieutenant in transit, and Bratton makes him the de facto number two man in the police department.Jack Maple passed away in 2001 and I didn't know what I was going to do, because it's hard to interview a man who's no longer alive. Chris Mitchell co-wrote Jack Maple's autobiography called Crime Fighter and he graciously gave me all the micro-cassettes of the original interviews he conducted with Maple around 1998. Everyone has a Jack Maple story. He's probably the most important character in Back from the Brink.Jack Maple comes in, no one really knows who he is, no one respects him because he was just a lieutenant in Transit. He goes around and asks a basic question — this is 1994 — he says, “How many people were shot in New York City in 1993?” And nobody knows. That is the state of crime-fighting in New York City before this era. There might have been 7,000 people shot in New York City in 1990 and we just don't know, even to this day.One citation from your book: in 1993, an average of 16 people were shot every day. Which is just remarkable.And remember, shootings have been declining for two or three years before that! But nobody knew, because they weren't keeping track of shootings, because it's not one of the FBI Uniform Crime Report [which tracks crime data nationally] index crimes. But wouldn't you be curious? It took Jack Maple to be curious, so he made people count, and it was findable, but you had to go through every aggravated assault and see if a gun was involved. You had to go through every murder from the previous year and see if it was a shooting. He did this. So we only have shooting data in New York City going back to 1993. It's just a simple process of caring.The super-short version of Back from the Brink is it was a change in mission statement: “We're going to care about crime.” Because they hadn't before. They cared about corruption, racial unrest, brutality, and scandal. They cared about the clearance rate for robbery a bit. You were supposed to make three arrests for every ten robberies. It didn't matter so much that you were stopping a pattern or arresting the right person, as long as you had three arrests for every ten reported crimes, that was fine.This is a story about people who cared. They're from this city — Bratton wasn't, but most of the rest are. They understood the trauma of violence and the fact that people with families were afraid to go outside, and nobody in the power structure seemed to care. So they made the NYPD care about this. Suddenly, the mid-level police executives, the precinct commanders, had to care. and the meetings weren't about keeping overtime down, instead they were about ”What are you doing to stop this shooting?”Tell listeners a little bit more about Jack Maple, because he's a remarkable character, and folks may not know what a kook he was.I think he was a little less kooky than he liked to present. His public persona was wearing a snazzy cat and spats and dressing like a fictional cartoon detective from his own mind, but he's a working-class guy from Queens who becomes a transit cop.When Bratton takes over, he writes a letter up the chain of command saying this is what we should do. Bratton read it and said, “This guy is smart.” Listening to 80 hours of Jack Maple, everyone correctly says he was a smart guy, but he had a very working-class demeanor and took to the elite lifestyle. He loved hanging out and getting fancy drinks at the Plaza Hotel. He was the idea man of the NYPD. Everyone has a Jack Maple imitation. “You're talking to the Jackster,” he'd say. He had smart people working under him who were supportive of this. But it was very much trying to figure out as they went along, because the city doesn't stop nor does it sleep.He was a bulls***er, but he's the one who came up with the basic outline of the strategy of crime reduction in New York City. He famously wrote it on a napkin at Elaine's, and it said, “First, we need to gather accurate and timely intelligence.” And that was, in essence, CompStat. “Then, we need to deploy our cops to where they need to be.” That was a big thing. He found out that cops weren't working: specialized units weren't working weekends and nights when the actual crime was happening. They had their excuses, but basically they wanted a cushy schedule. He changed that. Then, of course, you have to figure out what you're doing, what the effective tactics are. Then, constant follow up and assessment.You can't give up. You can't say “Problem solved.” A lot of people say it wasn't so much if your plan didn't work, you just needed a Plan B. It was the idea that throwing your hands in the air and saying, “What are you going to do?” that became notoriously unacceptable under Chief Anemone's stern demeanor at CompStat. These were not pleasant meetings. Those are the meetings that both propagated policies that work and held officers accountable. There was some humiliation going on, so CompStat was feared.Lots of folks hear CompStat and think about better tracking of crime locations and incidents. But as you flesh out, the meat on the bones of CompStat was this relentless follow-up. You'd have these weekly meetings early in the morning with all the precinct heads. There were relentless asks from the bosses, “What's going on in your district or in your precinct? Can you explain why this is happening? What are you doing to get these numbers down?” And follow-ups the following week or month. It was constant.CompStat is often thought of as high-tech computer stuff. It wasn't. There was nothing that couldn't have been done with old overhead projectors. It's just that no one had done it before. Billy Gorta says it's a glorified accountability system at a time when nobody knew anything about computers. Everyone now has access to crime maps on a computer. It was about actually gathering accurate, timely data.Bratton was very concerned that these numbers had to be right. It was getting everyone in the same room and saying, “This is what our focus is going to be now.” And getting people to care about crime victims, especially when those crime victims might be unsympathetic because of their demeanor, criminal activity, or a long arrest record. “We're going to care about every shooting, we're going to care about every murder.”Part of it was cracking down on illegal guns. There were hundreds of tactics. The federal prosecutors also played a key role. It was getting this cooperation. Once it started working and Giuliani made it a major part of claiming success as mayor, suddenly everyone wanted to be part of this, and you had other city agencies trying to figure it out. So it was a very positive feedback loop, once it was seen as a success.When Bratton came on the job, he said, “I'm going to bring down crime 15%.” No police commissioner had ever said that before. In the history of policing before 1994, no police commissioner ever promised a double-digit reduction in crime or even talked about it. People said “That's crazy.” It was done, and then year after year. That's the type of confidence that they had. They were surprised it worked as well as it did, but they all had the sense that there's a new captain on this ship, and we're trying new things. It was an age of ideas and experiment.And it was a very short time.That's the other thing that surprised me. Giuliani fired Bratton in the middle of ‘96.It's remarkable. Bratton comes in ‘94, and August 1994 is where you see crime drop off a cliff. You have this massive beginning of the reduction that continues.That inflection point is important for historical knowledge. I don't address alternatives that other people have proposed [to explain the fall in crime] — For example, the reduction in lead [in gasoline, paint, and water pipes] or legalized abortion with Roe v. Wade [proposed by Stephen Dubner].Reasonable people can differ. Back from the Brink focuses on the police part of the equation. Today, almost nobody, except for a few academics, says that police had nothing to do with the crime drop. That August inflection is key, because there is nothing in a lagged time analysis going back 20 years that is going to say that is the magic month where things happened. Yet if you look at what happened in CompStat, that's the month they started getting individual officer data, and noticing that most cops made zero arrests, and said, “Let's get them in the game as well.” And that seemed to be the key; that's when crime fell off the table. The meetings started in April, I believe, but August is really when the massive crime drop began.To your point about the confidence that crime could be driven down double digits year over year, there's a great quote you have from Jack Maple, where he says to a fellow cop, “This is going to be like shooting fish in a barrel. As long as we have absolute control, we can absolutely drive this number into the floor.”One detail I enjoyed was that Jack Maple, when he was a transit cop, would camp out under a big refrigerator box with little holes cut out for eyes and sit on the subway platform waiting for crooks.For people who are interested in Jack Maple, it is worth reading his autobiography, Crime Fighter. Mike Daly wrote New York's Finest, which uses the same tapes that I had access to, and he is much more focused on that. He's actually the godfather of Jack Maple's son, who is currently a New York City police officer. But Maple and co were confident, and it turned out they were right.As well as having changes in tactics and approach and accountability across the NYPD, you also have a series of specific location cleanups. You have a specific initiative focused on the Port Authority, which is a cesspool at the time, an initiative in Times Square, the Bryant Park cleanup, and then Giuliani also focuses on organized crime on the Fulton Fish Market, and this open-air market in Harlem.I was struck that there was both this general accountability push in the NYPD through CompStat, and a relentless focus on cleaning up individual places that were hubs of disorder.I'm not certain the crime drop would have happened without reclamation of public spaces and business improvement districts. Bryant Park's a fascinating story because Dan Biederman, who heads the Corporation, said, “People just thought it was like a lost cause, this park can't be saved. The city is in a spiral of decline.” He uses Jane Jacobs' “eyes on the street” theory and then George Kelling and James Q. Wilson's broken windows theory. The park has money — not city money, but from local property owners — and it reopens in 1991 to great acclaim and is still a fabulous place to be. It showed for the first time that public space was worth saving and could be saved. New York City at the time needed that lesson. It's interesting that today, Bryant Park has no permanent police presence and less crime. Back in the ‘80s, Bryant Park had an active police presence and a lot more crime.The first class I ever taught when I started at John Jay College in 2004, I was talking about broken windows. A student in the class named Jeff Marshall, who is in my book, told me about Operation Alternatives at the Port Authority. He had been a Port Authority police officer at the time, and I had not heard of this. People are just unaware of this part of history. It very much has lessons for today, because in policing often there's nothing new under the sun. It's just repackaged, dusted off, and done again. The issue was, how do we make the Port Authority safe for passengers? How do we both help and get rid of people living in the bus terminal? It's a semi-public space, so it makes it difficult. There was a social services element about it, that was Operational Alternatives. A lot of people took advantage of that and got help. But the flip side was, you don't have to take services, but you can't stay here.I interviewed the manager of the bus terminal. He was so proud of what he did. He's a bureaucrat, a high-ranking one, but a port authority manager. He came from the George Washington Bridge, which he loved. And he wonders, what the hell am I going to do with this bus terminal? But the Port Authority cared, because they're a huge organization and that's the only thing with their name on it — They also control JFK Airport and bridges and tunnels and all the airports, but people call the bus terminal Port Authority.They gave him almost unlimited money and power and said, “Fix it please, do what you've got to do,” and he did. It was environmental design, giving police overtime so they'd be part of this, a big part of it was having a social service element so it wasn't just kicking people out with nowhere to go.Some of it was also setting up rules. This also helped Bratton in the subway, because this happened at the same time. The court ruled that you can enforce certain rules in the semi-public spaces. It was not clear until this moment whether it was constitutional or not. To be specific, you have a constitutional right to beg on the street, but you do not have a constitutional right to beg on the subway. That came down to a court decision. Had that not happened, I don't know if in the long run the crime drop would have happened.That court decision comes down to the specific point that it's not a free-speech right on the subway to panhandle, because people can't leave, because you've got them trapped in that space.You can't cross the street to get away from it. But it also recognized that it wasn't pure begging, that there was a gray area between aggressive begging and extortion and robbery.You note that in the early 1990s, one-third of subway commuters said they consciously avoided certain stations because of safety, and two thirds felt coerced to give money by aggressive panhandling.The folks in your book talk a lot about the 80/20 rule applying all over the place. That something like 20% of the people you catch are committing 80% of the crimes.There's a similar dynamic that you talk about on the subways, both in the book and in your commentary over the past couple years about disorder in New York. You say approximately 2,000 people with serious mental illness are at risk for street homelessness, and these people cycle through the cities, streets, subways, jails, and hospitals.What lessons from the ‘90s can be applied today for both helping those people and stopping them being a threat to others?Before the ‘80s and Reagan budget cuts there had been a psychiatric system that could help people. That largely got defunded. [Deinstitutionalization began in New York State earlier, in the 1960s.] We did not solve the problem of mental health or homelessness in the ‘90s, but we solved the problem of behavior. George Kelling [of broken windows theory] emphasized this repeatedly, and people would ignore it. We are not criminalizing homelessness or poverty. We're focusing on behavior that we are trying to change. People who willfully ignore that distinction almost assume that poor people are naturally disorderly or criminal, or that all homeless people are twitching and threatening other people. Even people with mental illness can behave in a public space.Times have changed a bit. I think there are different drugs now that make things arguably a bit worse. I am not a mental health expert, but we do need more involuntary commitment, not just for our sake, but for theirs, people who need help. I pass people daily, often the same person, basically decomposing on a subway stop in the cold. They are offered help by social services, and they say no. They should not be allowed to make that choice because they're literally dying on the street in front of us. Basic humanity demands that we be a little more aggressive in forcing people who are not making rational decisions, because now you have to be an imminent threat to yourself or others. That standard does need to change. But there also need to be mental health beds available for people in this condition.I don't know what the solution is to homelessness or mental health. But I do know the solution to public disorder on the subway and that's, regardless of your mental state or housing status, enforcing legal, constitutional rules, policing behavior. It does not involve locking everybody up. It involves drawing the line between acceptable and unacceptable behavior. It's amazing how much people will comply with those rules.That presents the idea that someone's in charge, it's not a free-for-all. You get that virtuous loop, which New York had achieved in 2014–2016, when crime was at an all-time low in the city. Then the politicians decided public order wasn't worth preserving anymore. These are political choices.I had a similar version of this conversation with a friend who was shocked that there were zero murders on the subway in 2017 and that that number was stable: you had one or two a year for several years in the mid-2010s.It was five or fewer a year from 1997 to 2019, and often one or two. Then you have zero in 2017. There were [ten in 2022]. It coincides perfectly with an order from [Mayor] de Blasio's office and the homeless czar [Director of Homeless Services Steven] Banks [which] told police to stop enforcing subway rules against loitering. The subways became — once again — a de facto homeless shelter. Getting rule-violating homeless people out of the subway in the late ‘80s was such a difficult and major accomplishment at the time, and to be fair it's not as bad as it was.The alternative was that homeless outreach was supposed to offer people services. When they decline, which 95% of people do, you're to leave them be. I would argue again, I don't think that's a more humane stance to take. But it's not just about them, it's about subway riders.There's one story that I think was relevant for you to tell. You were attacked this fall on a subway platform by a guy threatening to kill you. It turns out he's had a number of run-ins with the criminal justice system. Can you tell us where that guy is now?I believe he's in prison now. The only reason I know who it is is because I said, one day I'm going to see his picture in the New York Post because he's going to hurt somebody. Am I 100 percent certain it's Michael Blount who attacked me? No, but I'm willing to call him out by name because I believe it is. He was out of prison for raping a child, and he slashed his ex-girlfriend and pushed her on the subway tracks. And then was on the lam for a while. I look at him and the shape of his face, his height, age, build, complexion, and I go, that's got to be him.I wasn't hurt, but he gave me a sucker punch trying to knock me out and then chased me a bit threatening to kill me, and I believe he wanted to. It's the only time I ever was confronted by a person who I really believe wanted to kill me, and this includes policing in the Eastern District in Baltimore. It was an attempted misdemeanor assault in the long run. But I knew it wasn't about me. It was him. I assume he's going to stay in prison longer for what he did to his ex-girlfriend. But I never thought it would happen to me. I was lucky the punch didn't connect.Peter Moskos's new book is Back from the Brink, Inside the NYPD and New York City's Extraordinary 1990s Crime Drop.My reading listEssays:Johnny Hirschauer's reporting, including “A Failed 'Solution' to 'America's Mental Health Crisis',“ “Return to the Roots,” and “The Last Institutions.” “Broken Windows: The Police and Neighborhood Safety,” by George L. Kelling and James Q. Wilson. ​“It's Time to Talk About America's Disorder Problem,” Charles Lehman.Books:Ghettoside: A True Story of Murder in America, Jill Leovy.​Prince of the City: Giuliani, New York, and the Genius of American Life, Fred Siegel.​ Cop in the Hood: My Year Policing Baltimore's Eastern District, Peter Moskos.​Dreamland: The True Tale of America's Opiate Epidemic, Sam Quinones.​Bonfire of the Vanities, Tom Wolfe. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.statecraft.pub

Um dos sonhos vendidos pela internet era a da praça global em que todos poderiam discutir todos os assuntos relevantes para a sociedade. Muitas terras planas depois, porém, mudamos de ideia. Hoje o Escuta Essa faz uma jornada que vai desde um podcast do Danilo até uma série de vídeos do TikTok, passando pela solução da navegação, a revolução do beisebol e um novo conceito de urbanismo. Tudo isso unido pela opinião do leigo e pelo “hot take”, a expressão em inglês para uma opinião forte, polêmica e sem muita abertura para conversa que tomou conta da internet. Este é mais um episódio do Escuta Essa, podcast semanal em que Denis e Danilo trocam histórias de cair o queixo e de explodir os miolos. Todas as quartas-feiras, no seu agregador de podcasts favorito, é a vez de um contar um causo para o outro.Não deixe de enviar os episódios do Escuta Essa para aquela pessoa com quem você também gosta de compartilhar histórias e aproveite para mandar seus comentários e perguntas no Spotify, nas redes sociais , ou no e-mail escutaessa@aded.studio. A gente sempre lê mensagens no final de cada episódio!...NESTE EPISÓDIO-O Debate de Bolso foi uma seção do podcast Pouco Pixel que virou um programa próprio de 2017 a 2018.-O Pouco Pixel está refazendo o Debate de Bolso em sua nova temporada comemorativa de 10 anos que estreou na semana passada.-O Subway Takes, de Kareem Rahma, tem mais de 800 mil seguidores no Instagram, 350 mil no YouTube e 894 mil no TikTok.-O The Guardian e a New Yorker já fizeram perfis de Rahma e seu programa viral.-Moneyball, livro de Michael Lewis, foi lançado em 2003 e fala como o Oakland A's revolucionou o beisebol nos EUA ao passar a usar estatísticas e novas formas de análise de desempenho para tomar suas decisões.-O livro da escritora e jornalista Jane Jacobs que mudou o urbanismo foi o “The Death and Life of Great American Cities”, de 1961.-O filósofo Henri Bergson é um dos que mais estudou o riso e o humor e quem afirma que eles são sociais, sempre em grupo. -O cientista social Michael Billing é um acadêmico britânico que estuda a relação do humor com o constrangimento....AD&D STUDIOA AD&D produz podcasts e vídeos que divertem e respeitam sua inteligência! Acompanhe todos os episódios em aded.studio para não perder nenhuma novidade.

In a bygone time, we had celebrated architecture critics, historians and thought leaders like; Ada Louise Huxtable, Lewis Mumford, Jane Jacobs and Vincent Scully. These were gifted thought leaders with a willingness to share their views, good or bad, but never indifferent. They and others influenced the manner in which we looked critically at the shape and purpose of the spaces where we live work and play. Arch Daily wrote a piece in 2012 called The Architect Critic is Dead (just not for the reason you think). Is it. Is it, really? I don't think the architect critic is dead, it has changed. It's like Syndrome's quote from The Incredibles. That when everyone has superpowers, no-one will be a superhero. It's this dilution of meaning through social media where everyone has an opinion and no hesitation about sharing it. Very little self-awareness and a platform, then everyone is a critic but without the critical thinking or communication skills to articulate their ideas effectively. Enda Donagher and I chop this idea up a Biot and he shares his experience in the business over the past 30-years plus. Enda and I talk about the business and his work.  Designer Resources Pacific Sales Kitchen and Home. Where excellence meets expertise. ThermaSol - Redefining the modern shower experience. Without steam, it's just a bathroom. Design Hardware - A stunning and vast collection of jewelry for the home!  - Where service meets excellence TimberTech - Real wood beauty without the upkeep Donagher's firm addresses the architecture and interior design and his work is nuanced through a personalized approach and sensibly modern in look and feel. The ideas regarding the architect critic is relevant for a number of reasons, not the least of which is the opportunity to deconstruct the ideas that go into creating amazing work. If the work can be deconstructed, it provided a forum for critical thought to better our architecture and design. If we can apply critical thought, share ways to improve, then Syndrome was wrong. Everyone truly can be a super because everyones work is better and the level of expectation is raised. I enjoyed this conversation and I hope you do too. You'll hear all about it, right after this. Thank you, Enda. Loved our chat. Thank you to my incredible partner sponsors, ThermaSol, TimberTech, Pacific Sales, and Design Hardware. Amazing companies and great friends to the trade so please give them an opportunity for your next project. And, thank you for listening, subscribing the show and sharing with your colleagues. If not already subscribing, please consider that so you receive every new episode automatically to your podcast feed. Until next week, thank you for sharing this time together, until the next episode, be well, stay focused and now that it has arrived in earnest, try to rise above the chaos. - CXD

Jane Jacobs (1916 to 2006) was a pioneering urbanist and activist best known for her influential book The Death and Life of Great American Cities (1961), which challenged conventional urban planning ideas by advocating for vibrant, community-centered, and pedestrian-friendly city design. For Further Reading: On Jane Jacobs - Salmagundi Magazine Jane Jacobs’s Street Smarts | The New Yorker Social Welfare History Project Jacobs, Jane — 1916 – 2006 This month, we’re talking about Architects. These women held fast to their visions for better futures, found potential in negative space, and built their creations from the ground up. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn’t help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we’ll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more. Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, Paloma Moreno Jimenez, Luci Jones, Abbey Delk, Adrien Behn, Alyia Yates, Vanessa Handy, Melia Agudelo, and Joia Putnoi. Special thanks to Shira Atkins. Original theme music composed by Miles Moran. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

On this week's program, we bring you highlights from a public meeting and open house that took place at the Main Public Library on March 18th about the Downtown & NuLu Street Network Plan. Louisville Metro Government is leading a plan to advance quick-term action projects for streets in Downtown and NuLu, intended to promote walkability and safety for pedestrians and to serve as a blueprint for capital improvement projects over the next several years. The public was invited to come be a part of this planning effort by joining this open house and kickoff of the plan activities - featuring a presentation from Jeff Speck from Metro's planning consultant team! So listen in as renowned urban planner and author Jeff Speck shared his insights on reimagining downtown Louisville through the lens of walkability and why fostering a pedestrian-friendly environment is imperative for a flourishing city. The evening kicked off with Joel from Stantech. Jeff Speck is a city planner and author who advocates internationally for more walkable cities. As Director of Design at the National Endowment for the Arts from 2003 through 2007, he presided over the Mayors' Institute on City Design and created the Governors' Institute on Community Design. Prior to his federal appointment, Mr. Speck spent ten years as Director of Town Planning at DPZ & Co., the principal firm behind the New Urbanism movement. Since 2007, he has led Speck & Associates — now Speck Dempsey —an award-winning urban planning firm serving public and private clients around the world. With Andres Duany and Elizabeth Plater-Zyberk, Mr. Speck is the co-author of Suburban Nation, which the Wall Street Journal calls "the urbanist's bible.” His 2012 book Walkable City was the best selling city planning title of the past decade and has been translated into eight languages. He is also the principal author of The Smart Growth Manual and Walkable City Rules. Jeff Speck has been named a fellow of both the American Institute of Certified Planners and the Congress for New Urbanism. In a recent Planetizen poll, he was voted one of the ten “most influential urbanists of all time.” Mr. Speck was the 2022 recipient of the Seaside Prize, whose former awardees include Jane Jacobs and Christopher Alexander. His TED talks and YouTube videos have been viewed more than six million times. Truth to Power airs every Friday at 9pm, Saturday at 11am, and Sunday at 7pm on Louisville's grassroots, community radio station, Forward Radio 106.5fm WFMP and live streams at https://forwardradio.org

On local economies, health, Jane Jacobs, Joan Didion, The Idiot by Dostoevsky, Frugal Hedonism, and more.hotliterati.com

Has America ceased to be the land of opportunity? Many people here take it for granted that good neighborhoods—with good schools and good housing—are only accessible to the wealthy. But in America, this wasn't always the case. Though for most of world history, your prospects were tied to where you were born, Americans came up with a revolutionary idea: If you didn't like your lot in life, you could find a better location and reinvent yourself there. Americans moved to new places with unprecedented frequency, and, for 200 years, that remarkable mobility was the linchpin of American economic and social opportunity. Join us as Yoni Appelbaum, historian and journalist for The Atlantic, argues that this idea has been under attack since reformers first developed zoning laws to ghettoize Chinese Americans in 19th-century Modesto, California. The century of legal segregation that ensued—from the zoning laws enacted to force Jewish workers back into New York's Lower East Side to the private-sector discrimination and racist public policy that trapped Black families in Flint, Michigan, to Jane Jacobs' efforts to protect her vision of the West Village—has raised housing prices, deepened political divides, emboldened bigots, and trapped generations of people in poverty. Appelbaum says these problems have a common explanation: people can't move as readily as they used to. They are, in a word, stuck. Applebaum will cut through more than a century of mythmaking, sharing the surprising story of the people and ideas that caused our economic and social sclerosis and laying out commonsense ways to get Americans moving again. Learn more about your ad choices. Visit megaphone.fm/adchoices

Host Joshua Turek returns with a solo episode of Turek Books after a few months hiatus and his relocation to Tucson. He discusses the very timely book, "Technofeudalism" at length as it was the first pick for a book club on his Turek Books IG live. He also gets into what else he's reading. "Debt" by David Graeber, "The Bible" by whoever wrote it, "All the Shahs Men" a book on U.S. interference in Iran, and "Lonesome Dove" by Larry McMurtry whom Joshua pines away about for awhile. Also mentioned are McMurtry's books "All My Friends Are Going to Be Strangers" and "Moving On" and the next book club pick "The Death and Life of the Great American Cities" by Jane Jacobs. Joshua is touring comedy this summer and releasing a new poetry book. Be sure to let him know which cities he should visit, follow his Substack @joshuaturek and be sure to check joshuaturek.com for tour dates and signed copies of his debut poetry book. Hosted on Acast. See acast.com/privacy for more information.

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comYoni is a journalist and academic. He used to be a lecturer on history and literature at Harvard, and also taught at Babson College and Brandeis. He subsequently served in many editorial and writing roles at The Atlantic, where he's currently a deputy executive editor. He just published his first book, Stuck: How the Privileged and the Propertied Broke the Engine of American Opportunity. It's an engrossing account of how zoning in America — yes, zoning — evolved from the Puritans onward. I was unexpectedly fascinated.For two clips of our convo — on the racist origins of zoning, and how progressivism is keeping poor people in place — see our YouTube page.Other topics: raised as an orthodox Jew in the Boston area; spending a year at a yeshiva in Israel; interning for the Gore campaign in 1999; working for the Public Advocate in NYC; studying the Gilded Age in grad school; discovering Ta-Nehisi Coates as a Dish reader and getting hired at The Atlantic through TNC's comments section; mobility as a core feature of early America; the Pilgrims; how the Puritans branched off; moving to construct one's identity; Tocqueville; American Primeval; the “warning out” of early American towns; Lincoln's mobility; the Moving Day of pre-war NYC; Chinese laundries; violence against immigrants; the Progressive drive for zoning; Yoni defending tenements; Hoover's push for single-family homes; defaulting in the Depression; FDR's push for long mortgages; the feds distorting the market; racial segregation; Jane Jacobs vs central planning; Thatcher and public housing; the rise of shitty architecture; cognitive sorting; Hillbilly Elegy; mass migration and rising costs in the UK; how leftist regulations stifle building; and the abundance movement.Browse the Dishcast archive for an episode you might enjoy (the first 102 are free in their entirety — subscribe to get everything else). Coming up: Chris Caldwell on the political revolution in Europe, Evan Wolfson on the history of marriage equality, Nick Denton on China and AI, Francis Collins on faith and science, Michael Lewis on government service, Ian Buruma on Spinoza, Michael Joseph Gross on bodybuilding, and the great and powerful Mike White, of White Lotus fame. Please send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

Replaying our episode with Katrina Johnston-Zimmerman.  Katrina is an urban anthropologist that specializes in human behavior in public spaces. In 2019, she was selected as one of the BBC's 100 Influential Women Around the World and currently works as a data fellow for the City of Philadelphia within the Smart Cities Department doing research on data equity and privacy. She is dedicated to the improvement of public space, with extensive experience teaching and researching the topics we speak about.   We talk about: - What is urban anthropology and how did it grow from the work of Jane Jacobs and Holly Whyte? - Surprising things you find in the city and what stories those items tell. - How cities identify and address problems to improve life for residents. - We discuss urban design improvements and lessons learned from the South Street Headhouse Square District, Barcelona, and Çatalhöyük. - Katrina shines a light on the bias of cities and how these biases impact layout, function, and policy. - We talk about strategies to invoke the spirit of urban anthropology in your professional and personal life.  - I ask Katrina her opinion regarding the rising trend of suburban "Fake Downtowns", public space, and decentralization. Other Episodes You Might Like: 002: Martha Cross: Planners Build Trust and Communities 020: Dena Prastos: Pairing Architecture and Engineering for Resilient Waterfronts 014: Patrícia Akinaga: Impactful Landscape Architecture in the US and Brazil 040: Melissa Daniel: Why/ How Architecture is Political 038: Olivia Asuncion: Architect, Ramp Enthusiast, and Accessibility Advocate

Durk Kooistra in gesprek met Ruben Hanssen, drijvende kracht achter Youtubekanaal 'The Aesthetic City'. Waarom is moderne architectuur vaak zo lelijk? Veruit de meeste mensen hebben een voorkeur voor klassieke, traditionele gebouwen, maar architecten hebben zo hun eigen smaak. Volgens Ruben Hanssen moet het roer om: "Bouw wat mensen fijn vinden, verdomme!" -- Steun DNW en word patroon op http://www.petjeaf.com/denieuwewereld. Liever direct overmaken? Maak dan uw gift over naar NL61 RABO 0357 5828 61 t.n.v. Stichting De Nieuwe Wereld. Bronnen en links bij deze uitzending: - Het artikel in het AD: https://www.ad.nl/buitenland/trumps-oproep-tot-traditionele-overheidsgebouwen-is-volgens-critici-gevaarlijker-dan-hij-lijkt~aaae080a/ (0:30) - Het decreet van Trump: https://www.whitehouse.gov/presidential-actions/2025/01/promoting-beautiful-federal-civic-architecture/ (1:57) - Het onderzoek van de NCAS: https://www.civicart.org/news-and-events/2020/10/13/ncasharris-survey-shows-americans-overwhelmingly-prefer-traditional-architecture-for-federal-buildings (2:53) - Het Youtubekanaal van Ruben Hanssen: https://www.youtube.com/@the_aesthetic_city, met bijbehorende website: https://theaestheticcity.com/ (5:35, 54:17) - Het alternatief van Sjoerd Soeters, Pleasant Places Happy People, voor de Amsterdamse Sluisbuurt: https://pphp.nl/project/sluisbuurt-amsterdam/ (33:08) - Jane Jacobs, 'Dood en leven van grote Amerikaanse steden': https://www.deslegte.com/dood-en-leven-van-grote-amerikaanse-steden-843497/ (47:44) - De website van Ruben Hanssen: https://www.rubenhanssen.com/

 Greenwich Village is one of America's great music capitals, an extraordinary distinction for an old neighborhood of tenements, townhouses, dive bars and a college campus.So many musical titans of jazz, folk, pop and rock and roll got their start in the Village's many small nightclubs and coffeehouses, working alongside artists, writers, actors and comedians to create an American cultural mecca unlike any other.And it was here, on January 24, 1961, that a nineteen-year-old young man from Minnesota entered the fray -- Robert Zimmerman, otherwise known as Bob Dylan.The Village completely transformed the young folk singer into the voice of a generation, working out his transformation on the minuscule stages of the Gaslight, Cafe Wha? and Gerde's Folk City.But this show isn't strictly about Dylan's ascent to greatness, but the neighborhood -- the people, the streets, the basements! -- which cultivated artists like Dylan (and Billie Holiday and Nina Simone and Pete Seeger and Barbra Streisand and Joan Baez and so on.)PLUS: Bob Moses and Jane Jacobs stop by for a hootenanny (and a protest)Visit the website for a list of music credits, research sources and further listening ideasJoin us on Patreon for extra podcasts and lots of other goodiesShare your love of the city's history with a Bowery Boys Walks gift certificate! Our digital gift cards let your loved ones choose their perfect tour and date.Grab a Bowery Boys tee-shirt, mug or water bottle at our merchandise store.

Dan and Greg recap Unfrozen in 2024 and look ahead to 2025. -- Show Notes: Intro/Outro: “I Still Wear the Uniform,” by The Cooper Vane - Our Spotify Wrapped Stats for 2024 - AndrewAndrew - That time in 2005 when Greg wrote that podcasts would never amount to anything. If you find it, send us the link! --- TOP EPISODES OF 2024: - Top episode of 2024 was also the top episode of 2023: Show Me the Bodies - Horror in Architecture, with Joshua Comaroff - Glass Houses, with Madeline Ashby - Domo Arigatou, Mike 2.0 with Robert Otani - On Balance: Architecture and Vertigo, with Davide Deriu - Innovation Design Consortium, with Peter Devereaux - Salty Urbanism, with Jeffrey Huber - Cornell Tech Urban Tech Summit In 2025…maybe?: - Jane Jacobs the Musical: A Marvelous Order - La Biennale Architettura 2025 – curated by Carlo Ratti - Who will build the Wall? - Who has built the Line – and died? - Data Towers: -             33 Thomas Street – the AT&T Long Lines / Neutron Bomb Building -             1 Brooklyn Bridge Plaza – the Verizon telephone exchange

Award-winning architect and designer Umesh Kelkar, Project Designer II in the Aviation Studio, spills on his Summer Design Competition-winning project, "Deep Rooted Ellum." Intended to revitalize the district in the Southeast Dalla neighborhood, Unmesh's vision for a vibrant mixed-use development on the Southeast side of Dallas garnered critical acclaim from the Urban Land Institute and AIA Dallas as well as the Texas Society of Architects and won the FW Land Award.   Long known for its deep roots in Dallas and contributing to the urban fabric as the center of art, music, history, and culture, this mixed-use plan draws upon jazz music and blues, creating a vibrant, connected environment focused on vitality, richness, and cultural flourishes. His aviation and public spaces background informs his project, which the City of Dallas embraced.   Influenced by Jane Jacobs, the renowned writer American-Canadian journalist, author, theorist, and activist who influenced urban studies, sociology, and economics. Her book The Death and Life of Great American Cities (1961) argued that "urban renewal" and "slum clearance" did not respect the needs of city dwellers. Profoundly influential in changing the built environment, she coined the terms "mixed primary uses" and "eyes on the street" and remains one of the most influential thinkers and leaders of 21st-century urban architecture. Don't miss this riveting episode of The Square as Unmesh shares his inspiration and design processes. Be sure to include your thumbs up and comments below.   Visit: https://www.Corgan.com/    Also connect with us on: Instagram: https://www.instagram.com/CorganInc/    Facebook: https://www.facebook.com/CorganInc/    Twitter: https://twitter.com/CorganInc    LinkedIn: https://www.linkedin.com/company/corgan    Video Produced by: Corgan   Have Questions? We'd love to hear from you.    Email: communications@corgan.com

Histoire des usages de la rue: progrès et destruction La rue n'a pas toujours été utilisée telle qu'on la connaît. Lieu de rencontre et d'échange, ses fonctions originales allaient bien au-delà du transport des gens et des biens au moment où les villes se créaient et se développaient. Pourtant, à mesure que les différents véhicules — de la charrette au F150 — l'ont occupée puis monopolisée, les tensions entre les modes d'usages et de déplacements ont fait de la rue le théâtre d'une compétition pour l'espace public qui n'est pas prête de s'apaiser. Au-delà de la mobilité, quel rôle joue (ou devrait davantage jouer) la rue dans une ville? Et comment harmoniser toutes ces fonctions? Un survol historique et urbanistique de la rue. «Not TV or illegal drugs but the automobile has been the chief destroyer of American communities.» (Jane Jacobs, Dark Age Ahead) Présentation À qui la rue? Regard en trois temps sur la fonction de la rue Axe de transport, zone de rencontre, vitrine commerciale, place publique, espace d'entreposage de voitures immobilisées: la rue occupe un espace gigantesque dans la ville et dans les budgets municipaux. Un espace convoité, limité, de tout temps objet de tensions entre les usages et de compétition entre les fonctions. Offert par trois personnages municipaux qui ont les mains dedans, ce cours propose une exploration en trois temps de notre rapport à la voie publique urbaine: d'où vient-il, comment il est valorisé (ou pas) aujourd'hui et comment on peut faire mieux. Professeur-e(s) Marianne Giguère s'intéresse depuis toujours à l'occupation du territoire et à l'aménagement urbain. Forte d'un baccalauréat en géographie et d'un diplôme d'enseignement de l'univers social au secondaire, c'est lors de sa scolarité de maîtrise qu'elle développe un intérêt particulier pour la place qu'occupe l'automobile dans les rues et dans l'histoire. Afin d'alimenter la discussion collective sur ces enjeux et pour y apporter des solutions concrètes, elle participe à la création d'un nouveau parti politique municipal. 20 ans plus tard, elle est actuellement élue pour un troisième mandat sous les couleurs de ce parti, dans un arrondissement où il y a beaucoup de rues. La séance à été enregistrée le 5 novembre 2024 au Café Les Oubliettes

Jane Jacobs and the City as Liturgy w/ Dr. Timothy Patitsas, Michael Sellas and Ashley

About the initiative: Celebrate Your Local Jane Jacobs, a campaign dedicated to acknowledge and honour women who have made substantial hands-on contributions to their communities. In a world where the recognition of women's achievements is often limited, we believe that those who have devoted themselves to civic engagement, participatory planning, enhancing their communities and constructing better towns for future generations deserve appreciation. We see their influence as not only inspiring but also capable of extending to other communities. Guests: Amir Gohar (Senior Lecturer & Programme LeaderSenior Lecturer & Programme Leader University of the West of England, Bristol, England, United Kingdom) Yasmine D'Alessandro (Senior Development Expert, Cairo, Egypt) Links: Website: https://celebrateyourlocaljanejacobs.org LinkedIn page: https://www.linkedin.com/company/celebrate-your-local-jane-jacobs ______ Keep Up the Good Work. Keep Loving Cities ❤️️ All opinions expressed in each episode are personal to the guest and do not represent the Host of Urbanistica Podcast unless otherwise stated. Let's connect and talk further about this episode ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Mustafa Sherif Linkedin⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Visit  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Mustafasherif.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for collaborations and nominations or email me at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠info@mustafasherif.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow Urbanistica on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Youtube channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Thanks to Urbanistica Podcast partner AFRY (Urban Planning and Design) AFRY is an international engineering and design company providing sustainable solutions in the fields of energy, industry, and infrastructure.

Hvordan ivaretar vi trygghet i det vi planlegger og bygger? I denne episoden snakker Alexander med Christina og Joakim i Oslopolitiet om trygghet i planprosesser. Hva snakker vi om når vi snakker om trygghet? Hva er trygge byrom? Hva er gode og dårlige eksempler på trygge og utrygge steder i Oslo? Og har Jacobs og Gehl egentlig hatt løsningen hele tiden? https://www.aftenposten.no/meninger/kronikk/i/o3KjxB/nylandsbrua-er-elefanten-i-uterommet https://www.politiet.no/globalassets/nyheter/oslo/2024-04-30-u-innsats-i-prioriterte-omrader-oslo-pd.pdf  Send oss en mail på podkast@lpo.no og følg oss gjerne på Instagram! PS. Gartnerløkka får gjennomgå i denne episoden, men BYM er på saken:  https://www.oslo.kommune.no/fag-og-utviklingsprosjekter/omradesatsingenes-prosjekter/oppgradering-av-gartnerlokka-1/#gref    Alles ist Architektur!   

In this episode, we dive into the decline of Dublin's inner city, a reflection of urban decay across the English-speaking world. Drawing on Jane Jacobs' urban theories, we explore how cities like Kreuzberg in Berlin and Hackney in London turned around from dereliction to thriving hubs—and ask whether Dublin can do the same. We discuss the importance of repopulating cities with residents, not just tourists, and why mixed-use spaces are crucial for community vibrancy. Can initiatives like “meanwhile use” transform dead zones into lively areas again? Or is Dublin—and cities like it—stuck in a cycle of neglect and decay? Join us as we explore the future of urban living and what it will take to revive dying cities. Join the gang! https://plus.acast.com/s/the-david-mcwilliams-podcast. Hosted on Acast. See acast.com/privacy for more information.

Jim talks with Nikos Salingaros about architectural theory, urbanism, and urban planning. They discuss inherited knowledge, the capability to distinguish between ugly & beautiful buildings, John Vervaeke's 4 kinds of knowing, vertical vs horizontal design, how architecture went so wrong, backward evolution, a Messianic futurism cult, the destruction of living geometry, how the real estate racket works, biophilic design, the correlation between modern architecture & modern art, the human scale, James Gibson, the Fibonacci sequence, deconstructivism, architectural assassins, fractals in architecture, richness, interpretability, medical health, functional ornamentation, information overload, cultural continuity & erasure, the ruse of postmodernism, algorithmic design, the AI revolution in architecture, an opportunity for new entrants, wonderful modern buildings, failed typologies, urban planning, making several systems work together simultaneously, autopoietic systems, urban DNA, Jane Jacobs, the city as a living system, post-war zoning, peer-to-peer urbanism, why it hasn't worked, the "yes in my backyard" movement, the future of architecture, and much more. Episode Transcript A Pattern Language, by Christopher Alexander JRS EP 227 - Stuart Kauffman on the Emergence of Life The Death and Life of American Cities, by Jane Jacobs How Buildings Learn: What Happens After They're Built, by Stewart Brand "P2P Urbanism," by Nikos Salingaros Dr. Nikos A. Salingaros is Professor of Mathematics and Architecture at the University of Texas at San Antonio. An internationally recognized Architectural Theorist and Urbanist, his publications include seven books on architecture and design, two of them co-authored with Michael Mehaffy. Salingaros collaborated with the visionary architect and software pioneer Christopher Alexander over more than twenty years in editing Alexander's monumental four-volume book The Nature of Order. Salingaros won the 2019 Stockholm Cultural Award for Architecture, and shared the 2018 Clem Labine Traditional Building Award with Michael Mehaffy. Salingaros holds a doctorate in Mathematical Physics from Stony Brook University, New York. He has directed and advised twenty-five Masters and PhD theses in architecture and urbanism.

This week, we talk with Evan Friss, author of The Bookshop: A History of the American Bookstore, out now from Penguin Random House. Starting with Benjamin Franklin and moving up to the present day, it is a love letter to bookstores that The New York Times calls "A spirited defense of this important, odd and odds-defying American retail category."Books We Talk About: The Death and Life of Great American Cities by Jane Jacobs and the works of Donna Tartt, Haruki Murakami, Kurt Vonnegut and George Saunders.

I bystudier forstås modernisme som en ambisiøs og overordnet kommunal politikk med sosiale mål. Fra og med 1960-tallet ble den form for velferdspolitikk kritisert for å hindre byen i å blomstre fritt, en kritikk som ofte tok utgangspunkt i det intellektuelle arbeidet til den nord-amerikanske urbanisten Jane Jacobs. Dette plan-kritiske tankegodset representerer i dag det dominerende  synet på byen.  Bør modernismens overordnede planer og reguleringer hentes frem fra historien for å utfordre dette tankegodset, og bidra til å skape et mulighetsrom for det som lenge har blitt oppfattet som motsatsen, motkultur og urbanitet? Må vi finne tilbake til fortidens ambisjonsnivå for å unngå at det vi elsker med byen sakte, men sikkert forsvinner i takt med stigende leie- og tomtepriser?  Gjester er Alf Jørgen Schnell, stipendiat i samfunnsgeografi og forfatter av "På sporet av den tapte fremtid" (2023) og Nazneen Khan-Østrem, forfatter av "London" (2019) og kommentator i Aftenposten. Sammen drøfter de fortidens, samtidens og fremtidens Oslo og London. Programleder er professor Per Gunnar Røe fra institutt for sosiologi og samfunnsgeografi ved Universitetet i Oslo.           

I bystudier forstås modernisme som en ambisiøs og overordnet kommunal politikk med sosiale mål. Fra og med 1960-tallet ble den form for velferdspolitikk kritisert for å hindre byen i å blomstre fritt, en kritikk som ofte tok utgangspunkt i det intellektuelle arbeidet til den nord-amerikanske urbanisten Jane Jacobs. Dette plan-kritiske tankegodset representerer i dag det dominerende  synet på byen.  Bør modernismens overordnede planer og reguleringer hentes frem fra historien for å utfordre dette tankegodset, og bidra til å skape et mulighetsrom for det som lenge har blitt oppfattet som motsatsen, motkultur og urbanitet? Må vi finne tilbake til fortidens ambisjonsnivå for å unngå at det vi elsker med byen sakte, men sikkert forsvinner i takt med stigende leie- og tomtepriser?  Gjester er Alf Jørgen Schnell, stipendiat i samfunnsgeografi og forfatter av "På sporet av den tapte fremtid" (2023) og Nazneen Khan-Østrem, forfatter av "London" (2019) og kommentator i Aftenposten. Sammen drøfter de fortidens, samtidens og fremtidens Oslo og London. Programleder er professor Per Gunnar Røe fra institutt for sosiologi og samfunnsgeografi ved Universitetet i Oslo.           

Professor Ilya Somin of George Mason University and the Cato Institute discusses his work in drafting amicus papers in the Kelo case, working with Jane Jacobs, writing a book on Kelo (The Grasping Hand) a decade after the decision, and his current work on the costs of exclusionary zoning. Throughout, Bobby and Prof. Somin discuss the common ground that otherwise-differing philosophies find in property law.   Links: https://www.law.gmu.edu/faculty/directory/fulltime/somin_ilya  https://www.cato.org/people/ilya-somin https://www.theatlantic.com/ideas/archive/2024/06/constitutional-case-against-exclusionary-zoning/678659/  https://www.amazon.com/Grasping-Hand-London-Limits-Eminent/dp/022642216X/ref=tmm_pap_swatch_0?_encoding=UTF8&dib_tag=se&dib=eyJ2IjoiMSJ9.Av65EcHKeo7CqGfLDs_9-g.tENW9VkASB1jBty2_iVzTu5b5-S5ECKGI_CBiubYZHA&qid=1724864661&sr=1-1 

Joey Taylor & Sam Pressler speak with Pete Davis about Join or Die, which he directed with Rebecca Davis.The Lost Prophets PodcastPete's Interview with SamDedicated by Pete DavisBowling Alone by PutnamThe Upswing by PutnamSum of Us by McGheeAgainst Everyone with Conner Habib PodcastWeird Studies PodcastLindy Effect - Nicholas Nassim TalebThe MaintainersQuest for Community by NisbetFebruary 2nd, 1968 by Wendell Berry Small is Beautiful by SchumacherThe Creation of the American Republic by WoodOur Divided Political Heart by DionneTriplets of Evil Speech by KingBoy in the Bubble by Paul SimonJane Macelevy, Eddie Glaude, Frederick Law Olmsted, Abraham Joshua Heschel, Jane Jacobs, Buckminster Fuller, Ralph Nader, Paul Goodman, Ella Baker, Ivan Illich, Dorothy Day, Peter Maurin, Marshal McLuhan, Tony Judt, Thomas Merton, Michael Lind, Frank Capra, Elias Krim, Roberto Unger, Alexis De Tocqueville, Priya Parker

Vishaan Chakrabarti is the founder and creative director of the Practice for Architecture and Urbanism (PAU), and the author of "The Architecture of Urbanity." He has worn many hats - in development, architecture, government and academia, and brings this experience to bear in his public advocacy work. -- Intro: "Rebel Rebel" by David Bowie Show Notes: - The "Joy" Thing with Tim Walz - Obama > Biden Infrastructure Bill - Is it really Rural vs Urban, or Suburban vs Everyone Else? Is it Rurbanity? - UC Berkeley analysis of carbon footprints of cities vs rural vs suburban - The mortgage interest tax deduction - The Federal gas tax - Out-migration from expensive to affordable cities - not the suburbs - Railroad suburbs: Montclair and Maplewood NJ - Carbon pricing - Jane Jacobs' idea that cities formed around trade - James C. Scott - The Dawn of Everything, David Graeber & David Wengrow - Alternate civilizational origin stories at the Venice Biennale - The places we go on vacation all have lousy parking - The energy source powering cars is not really the issue - it's the degree to which we design our cities around cars - or not - Copenhagen - the urban planning Mecca - but where are the immigrants? - InterOculus, PAU, Columbus, Indiana - "Because they've been told their definition of excellence is to design spaceships to be built by slaves in the sand, that's what architects are off doing. And so of course they're not at the adult table influencing policy. We can't relegate ourselves to the kiddie table by talking about irrelevant things and then complain about the chicken nuggets." - "We don't help everyday people visualize the power of policy change as well as we could." - "I think we are at a moment where it is really, important for people who understand the physical world to sit down and be able to speak the language of government." - "Designing policy is a form of design." - New York Times collaboration with PAU = NYC = Not Your Car - Gov. Kathy Hochul's cancellation of congestion pricing - Robert Caro, The Power Broker - "The city's permanent government" - the "deep state" might actually be OK - "New York, New York, New York," by Tom Dyja - Accepting imperfection as a necessary democratic outcome - instead of going Roark on imperfection and blowing it up - Uber's hiring of Bradley Tusk, Bloomberg's third mayoral campaign manager - Alejandro Aravena - an architect literally being the architect of the new Chilean constitution - Norman Foster - adviser to the United Nations on rebuilding Ukraine - Book design by Michael Beirut and Britt Cobb at Pentagram Outro: "Don't Worry About the Government," by Talking Heads

Un día normal en muchas ciudades consiste en sumar horas de coche para realizar las tareas diarias como llevar a los niños a la escuela, ir al trabajo o comprar el pan. Ya hablaba la urbanista y activista Jane Jacobs sobre el modelo de ciudad contemporánea cercado por autopistas que se estructura en torno al vehículo privado. Susana García Bujalance, doctora arquitecta urbanista, ha expresado a a los micrófonos del 24 horas de RNE que la vida en la ciudad es algo "complejo". Ha explicado que uno de los problemas que tiene el debate sobre la vivienda es "el deseo de simplificar y dar titulares": "El problema de la vivienda no es algo que se pueda abordar ni con un una única decisión ni en una sola legislatura. Hace falta un abordaje amplio", defiende. Añade también que, a pesar de que se hable de las ciudades como motores económico, no podemos pensar que esto siempre ha sido así: "La economía eran las empresas, ahora la ciudad es una empresa en sí misma", insiste. Añadido al urbanismo de las ciudades, muchas de éstas se convierten en infiernos de hormigón cuando en verano el termómetro supera los 40 grados, como está pasando estas últimas semanas en nuestro país. Las ciudades, en su mayoría, no están correctamente adaptadas a estas altas temperaturas, sobre todo aquellas en las que cuesta encontrar la sombra de los árboles. Sara Pizzinato, portavoz de Greenpeace, sostiene que en la temperatura en las zonas de arbolado puede ser 15 grados inferior: "Nosotros lo llamamos renaturalizar las ciudades, y debe ser más de una moda: debe ser una verdadera transformación humana [...] Es fundamental tener zonas de sombra a través de las cuales poder desplazarse de forma segura para nuestra salud", sentencia.Escuchar audio

En este episodio de #PodcastLaTrinchera, Christian Sobrino entrevista a Terestella González Denton, aspirante por el Partido Popular Democrático a la alcaldía del Municipio de San Juan. En la conversación discuten su crianza y desarrollo personal, su trayectoria en el servicio público como directora de Turismo en el Municipio de San Juan bajo Sila María Calderón y Directora Ejecutiva de la Compañía de Turismo bajo Aníbal Acevedo Vilá, su entrada a la política en este ciclo electoral, su visión para la Ciudad Capital de prevalecer a la alcaldía y mucho más.  Este episodio de La Trinchera es presentado a ustedes por La Tigre,  el primer destino en Puerto Rico para encontrar una progresiva selección de moda Italiana, orientada a una nueva generación de profesionales que reconocen que una imagen bien curada puede aportar a nuestro progreso profesional. Detrás de La Tigre, se encuentra un selecto grupo de expertos en moda y estilo personal, que te ayudarán a elaborar una imagen con opciones de ropa a la medida y al detal de origen Italiano para él, y colecciones europeas para ella. Visiten la boutique de La Tigre ubicada en Ciudadela en Santurce o síganlos en Instagram en @shoplatigre.Por favor suscribirse a La Trinchera con Christian Sobrino en su plataforma favorita de podcasts y compartan este episodio con sus amistades.Para contactar a Christian Sobrino y #PodcastLaTrinchera, nada mejor que mediante las siguientes plataformas:Facebook: @PodcastLaTrincheraTwitter: @zobrinovichInstagram: zobrinovichThreads: @zobrinovichBluesky Social: zobrinovich.bsky.socialYouTube: @PodcastLaTrinchera"Esperamos demasiado de edificios nuevos y muy poco de nosotros mismos." - Jane Jacobs

The image of the skyscraper is the hallmark of the modern city. Futuristic depictions of urban landscapes nearly always feature towering structures high above the clouds. Today, however, developing countries seem to be putting the greatest effort into building the most impressive skyscrapers, from the Burj Khalifa in the UAE, to the future Jeddah Tower in Saudi Arabia. Whether you love them or hate them, it's worth asking why we build skyscrapers and what their role will be in future cities. Today on Faster, Please! — The Podcast, I sit down with Jason Barr, author of Cities in the Sky: The Quest to Build the World's Tallest Skyscrapers.Barr is a professor of economics at Rutgers University – Newark, and is a member of the Rutgers Global Urban Systems PhD program. He is also the author of Building the Skyline: The Birth and Growth of Manhattan's Skyscrapers.In This Episode* Demand for the skyscraper (1:35)* The end of the skyscraper (9:00)* Pillars of commerce (14:05)* The sky's the limit (18:36)* Manhattan extension (23:04)* Trends and styles (24:23)Below is a lightly edited transcript of our conversationThe image of the skyscraper is the hallmark of the modern city. Futuristic depictions of urban landscapes nearly always feature towering structures high above the clouds. Today, however, developing countries seem to be putting the greatest effort into building the most impressive skyscrapers, from the Burj Khalifa in the UAE, to the future Jeddah Tower in Saudi Arabia. Whether you love them or hate them, it's worth asking why we build skyscrapers and what their role will be in future cities. Today on Faster, Please! — The Podcast, I sit down with Jason Barr, author of Cities in the Sky: The Quest to Build the World's Tallest Skyscrapers.Barr is a professor of economics at Rutgers University – Newark, and is a member of the Rutgers Global Urban Systems PhD program. He is also the author of Building the Skyline: The Birth and Growth of Manhattan's Skyscrapers.Demand for the skyscraper (1:35)Pethokoukis: You obviously love skyscrapers, you're fascinated by them. You wrote a whole book on them. So I want to just start the very basic question: Why do skyscrapers fascinate you, and the people who aren't fascinated by them, what are they missing?Barr: Great questions. Well, I grew up on Long Island, and so I was always really fascinated with Manhattan. I grew up in the '70s, and so New York back then was a very dark, mysterious place for a youngster. So when I grew up, actually when I was in college, I started hanging out in the city. So to me, the skyline of Manhattan and New York City, they're just two sides of the same coin. I really developed an interest in tall buildings through my interest and fascination with Manhattan's and New York City's history.So when I came to Rutgers Newark, I just started doing research on tall buildings, especially in New York City: what was driving the heights of these buildings; there's all these interesting height cycles over the last 150 years. So I wrote my first book on the Manhattan skyline, that was called Building the Skyline, and then after that I thought, let's see what's happening around the rest of the world. So to me, the tall building is an interesting thing because it's part and parcel with urbanization, and I just personally don't think you could have one without the other.I think some people might think that skyscrapers are, at least for rich countries, that they're kind of a 20th-century thing that we did as we were growing, and cities were getting bigger, and skyscrapers are a part of that, but now they're for other parts of the world, parts of the world which are still urbanizing, which are still getting richer. Are skyscrapers are still a thing for America?The short answer is yes, but, given how dense cities are, tall buildings are just being added a lot more slowly. In New York, the population's kind of slowly growing, and so tall buildings are either replacing old buildings that are wearing out, or there's always this push by big global corporations to be in the newest and latest tall building. And obviously there's this international demand from people abroad to have an apartment — or national demand — global demand to have some kind of residential presence in New York. But the thing is, people in other countries: cities, planners, residents in other countries, they look to New York, they look to Chicago, and I think, for many of them, they see New York as something they want to emulate, and New York is, on just about almost any metric, it's probably the top global city. And so I think cities today, especially in China, and Asia more broadly, they're trying to kind of replicate that, what you might call “the Manhattan magic,” and I don't really think people in this country realize how much tall building construction is going on in other cities around the world. People in this country are a little bit more cynical about the role of the tall building in urban growth and in housing affordability and stuff like this, but other cities are basically going gangbusters, is a way to put it.Is that driven by fundamental economic forces? Is it kind of a “national greatness” kinds of signaling projects? Are there fundamental reasons, not just to build skyscrapers, but to build very, very tall skyscrapers?“All of the above” is the answer. Fundamentally, if there's many, many people who want to be working, living, playing in the center, the only way to accommodate the demand to be in the center is to make more land in the center, so the skyscraper, at its heart, is what I would say is “land in the sky.” You just go vertical because there's constraints on how much land there is in the center.Having said that, definitely the skyscraper is seen as a kind of way to advertise, a way to increase confidence in the place, and so you boost foreign direct investment. Observatories are huge money makers, there's a big tourism component. A lot of critics will say, “Oh, it's all about spectacle and ego.” But really, for the book, and just more broadly my research, when you drill down on the economics of these super tall buildings, not all of them are profitable or profit-maximizing, but they all have a strong economic rationale.Now, I just also want to say, China has its own thing going on, which sort of compounds the skyscraper construction-building there because of their unique governance structure and land ownership structure, but China is building tall buildings because, at the end of the day, there's a kind of, what I call, a “tall building bling.” There's just something that says, “This city is growing, this city is drawing population.” So we build a tall building and we boost confidence in the city. And it works, really.The pictures don't have to be too old, if you look at a picture of Shanghai, it looks a lot different not too long ago. It's almost as if a whole other city just kind of fell from the sky, a city of skyscrapers, and where there were once goats or something grazing, there's now a bunch of massive skyscrapers.Yeah, absolutely, and there's a few reasons for this. One is, I think Chinese residents more broadly see tall building as a natural way to live. I've talked to many Chinese residents, whether it's Shanghai or other cities, and to them, to own an apartment in the sky is like the greatest thing. It's their equivalent of the single family home in the United States. Living in the clouds is something many people aspire to. The other aspect of it is, Shanghai, and the Pudong neighborhood in Shanghai, was chosen basically to become a financial hub. Basically, the leaders were looking at Hong Kong and they thought it was a, to quote, I forgot the author, but to quote him in the book, the Shanghai officials and the National Party officials saw Hong Kong as that frustratingly free city, and so they wanted to create a kind of a financial hub in Shanghai. And so the Shanghai Tower, for example, is part of that plan to really draw people's attention to Shanghai, itself. So it was part of a master plan.The end of the skyscraper (9:00)I certainly remember that, after 9/11, I heard about “the end of the skyscraper,” and then during the pandemic, I heard about “the end of the city.” Now I'm guessing that cities will continue to exist and we're going to continue to build tall buildings.Absolutely. What 9/11 did was just make sure that we make our building safer with fire protection measures. In many Asian countries, every 20 floors, let's say, are mechanical floors, so you have the electric equipment, and the heating, and the cooling, and water tanks. They can also surround these in concrete, and so if something's on fire, if a floor is on fire, they can go to this hermetically sealed floor, a refuge floor, and stay there and be protected. And the elevator cores, they're made of concrete, and so you wouldn't have something like what happened on 9/11. So it didn't really impact the demand; 9/11 didn't impact the demand for the tall building, it just made us make tall buildings safer. And of course the downside is if you want to go into an office building, you have to have a swipe and you have to have an entry, so the negative of 9/11 was more about heightened security and increasing protections in a way that engenders a little bit more mistrust of us. But the demand didn't go away.Same thing with Covid. For big cities like New York and San Francisco, I'm sure the empty-office problem is going to dissipate. It'll take a while. This may be an overly broad statement, but the truth is, our present and future is in cities. The funny thing about the internet and social media and all that, it was supposed to allow us to suburbanize more, or run away from these big, overcrowded cities, but the truth is, social media and internet technology has just made cities even more important. So, as long as cities are growing, there'll be a demand for tall buildingsOf the tallest, I don't know, half-dozen buildings, have you been to all of them?That's a good question. I've been to the Shanghai Tower, which was the second-tallest building in the world, now is the third-tallest. The one that replaced it, I think it's [Merdeka 118] in Kuala Lumpur, I believe. I didn't go to that one yet because that just opened up recently. I've been to the Burj Khalifa, which is the world's tallest building. I'd have to look at the list. I've been to the Sears Tower, Empire State Building . . . Anyway, so I've been to a handful of them. I can't say I've been to every single one of the super-tall buildings in the worldAnd in any of those super-tall buildings, can you open a window? Why can't you open the windows in these skyscrapers?Well, the wind forces are just tremendous! The biggest problem engineering tall buildings is making sure that the building doesn't sway so that people feel it. The really fascinating thing about engineering tall buildings is this question: How do you allow the building to sway enough so that you don't have to — you don't want to over-engineer a building so that you make it perfectly stiff because that's just completely uneconomic to do that, but you want to make sure the building sways just enough so if you're sitting there reading a newspaper or drinking a cup of coffee on the top floor, you don't feel it. And so the wind forces high, a thousand feet in the air, are just so tremendous. I think if you open the window, everything would just would just blow away.I was thinking about some of those very, super-skinny residential buildings, which I guess seem to be becoming more popular, and do those people really feel the motion?From what I can tell, the short answer is no. There's one lawsuit in Manhattan, in particular, where the engineering wasn't exactly perfectly right, but I think that represents the exception that proves the rule. The building is safe, that's not the problem, it's just that, when you're dealing with these super-skinny buildings — these are kind of a new kind of breed of super-tall buildings, so sometimes the engineering isn't perfectly right, so they will figure out ways to kind of fix those problems. The problems are solvable, but sometimes if you don't get it 100 percent right, people complain, and obviously there's lawsuits and you have to go back in and tweak the engineering. But these things are selling for 70, 80, 100 million dollars for a penthouse on the 90th floor, so people still value them, and if motion sickness was a problem, they'd be worthless.Pillars of commerce (14:05)In the book, you run through a number of myths: tall buildings being only for the rich, that they drive up housing prices in cities, again, that you mentioned a little bit earlier, that they're somehow bad economic deals. All these myths all tend to be very negative.I'm not going to rename your book, but I could call it “Cathedrals in the Sky,” I mean, I think these are beautiful buildings that say a lot about human aspiration and to create a sense of awe. Boy, but some people just do not see it that way.I think there's a few strands; I've been thinking about this. There's a kind of a NIMBY strand, and sort of a NIMBY/gentrification strand. So people in the middle income, let's say, they see their housing prices going up, their rent going up, and then they see these billionaire condos, and so they, in my opinion, or based on my research, there's a confusion of correlation and causation. So the most visible manifestation in people's minds of gentrification and affordability problems are the super-slim buildings, but New York City has something like 3.6 million housing units, and if you look at the outlying areas of Queens and Staten Island, they're just covered in one- and two-family homes. Those neighborhoods have added barely any housing. So all of the housing — I'm exaggerating here when I say the word “all,” but the vast majority of new housing units happens in the center where either the zoning is more permissive, or old industrial sites come online and things like this, so people don't realize that the problem of housing affordability is citywide, it just looks naturally to be in their neighborhood where high rises are going up.Then there's another strand, which I would say is kind of the “Jane Jacobs strand” / the anti-public-housing strand. Jane Jacobs has some great points in her book, The Death and Life of Great American Cities about walkability, about eyes on the street. She wasn't a big fan of tall buildings, and this has kind of given rise to this whole movement of “human scale,” where five-story Greenwich Village buildings, or 10-story Parisian mansard-roof-type buildings are perfect, and any other deviation from that is somehow destroying the city. So there's that part of it, that people see tall buildings as somehow destroying the feel or the perfect fabric of the city. And lastly, obviously, some of the failures with the public housing policy has made people convinced that it's unhealthy to live in these tall buildings. I think that gets at what you're inquiring about. I think there's those different strains.I wonder if part of it stems for a confusion about what are cities for, and I mean cities are, for a large part, are where people to come together for jobs and to conduct commerce. And if you think of them that way, then certain things make sense; but if you think of them as, I don't know, some sort of urban retreat, where it's kind of like a garden or . . . I don't know, but it's a very different view, and perhaps it is not just about bike paths, but it's about what facilitates people to connect.Without jobs, without a labor market, there's no purpose to have a city. Maybe in the 18th or 19th century, you can create a city for the king or the empire, as are many examples, or the Vatican or something like this; so you can have these sort of political capital cities, or even Washington DC, but, fundamentally, 99 percent of the world's cities are places where people go to work, and so, if you don't allow the labor market to function properly, which means having a functioning housing market, then all these ideas about “the good city” and “the perfectly crafted city,” they kind of are irrelevant.So you have to start with: what makes a city grow, what makes people productive, and then how do we accommodate that? To the extent that we can improve design, all the better. There's always a million ways to make things better for people design-wise. I think bike lanes are great, and I think pedestrian-friendly cities are better than car-centric cities, but you can't start with designing the city first and then seeing what happens. You have to start with “let's make an attractive place to live and work” first, and then work on the design feature second.The sky's the limit (18:36)How tall are these buildings going to get?Okay, well, the next world's tallest building is going to be one kilometer: The Jeddah Tower, which had started, I think back in 2013 or 2015, had been stalled, there was some sort of political turmoil in Saudi Arabia, and they've just restarted this Jeddah Tower in the city of Jeddah. And so when that's completed, that's going to be one kilometer. There were some plans floated to have a two-kilometer building in Riyadh. I don't think anyone really thinks that's going to happen.How long does it take to get up to your office in a two-kilometer building?Well, that's the thing. They're coming up with new ways to get people up there faster. The old conventional steel cables could maybe go 500 meters or something like that, which is maybe 80 floors or something. Maybe if you had a really good cable, you can get people to 80 floors and then they'd have to switch. Now they have these composite . . . it's KONE UltraRope, which could go 1000 meters, which could go basically one kilometer continuously. So if you can get people from the ground floor to wherever their destination is within a minute, that's kind of like the golden rule here. People are not willing to wait more than a minute once they get in the elevator. The trick really is the ear pressure, and that's probably the hardest part because you're going up so quickly, the air pressure changes, so you have to figure out ways to make sure the cabin remains pressurized, and then there's the air pressure up on the highest floors. So that, I would argue, is the fundamental issue that's going to be coming next on the horizon is how to efficiently pressurize the highest floors. Let's say you're a mile high; if you're a mile high on the top floor, that's the equivalent of going from New York to Denver in a minute, or two minutes. So you have to figure out a way how to pressurize the entire building so it has a constant air pressure.If I were to look at the skyline of major American cities 50 years from now, would you expect them to be radically different, futuristic looking, maybe not two-kilometer buildings, but a lot of very, very tall buildings? Or is it again, if they're not growing, if population isn't growing, then that won't happen?People are always asking me what I think about the doom loops and all that. Pick New York as one end of the spectrum: It's always going to be adding new buildings, that's just in its DNA, and so you're going to have this kind of collage of different building styles. But other cities, smaller cities, maybe where people are moving now because working from home, they'll add a few tall buildings here, they'll have mini-skylines. Then the other cities, like a St. Louis, that's just going to have to kind of figure out a plan for growth. So I don't see the world as a kind of Jetsons-type world.I mean, you never know what's going to happen with the technology. There's one company, TK or Thyssenkrupp elevators, they're working on Maglev elevators, and this can actually be a game changer because you have these shafts, so the Maglev elevator cars, they can go up or down or they can go horizontal. Part of the goal with that is that everybody has their own — if it's an apartment building, they have their own elevator car, it takes them up to their apartment, it becomes the door. So that could be a real game changer . . . And then you could run these things horizontally. So if you have these Maglev elevators, you can not only run them horizontally within the building, but, in principle, if you could work out property rights or whatever, you could connect these things across buildings. But at the end of the day, it's really about preferences and a kind of cultural perception of the tall building, and I just don't see us in the United States us having a dramatic, country-wide rethinking of where we live. There's always going to be this desire for the single-family home in the suburbs. Now maybe that'll diminish to some degree, but as long as people see their own little house as their own little castle . . .Unlike China, where there seems to be a great desire to live in these kinds of buildings.Manhattan extension (23:04)Have you had any takers about your proposal to make Manhattan bigger?No.You would extend it by about 2000 acres and maybe build some tall buildings on that, I don't know.The idea would be to create a new mini-Manhattan extending Manhattan into New York Harbor. Just briefly, the idea was both to add more housing and add more land, and to protect lower Manhattan against sea level rises and so forth. I proposed this in a New York Times op-ed piece, and, naturally, I would say the majority of commenters and people had this sort of kneejerk reaction against it.I had a kneejerk reaction for it! I loved it!You are part of a small, select core of appreciators, let's say. Having said that, in the 21st century it's just not something I think most people are willing to wrap their heads around. SoTo me, that's an idea with the future, and I think you should not be dejected that it was not initially well-received. I think that kind of idea might actually have some legs.Trends and styles (24:23)Finally, let me ask you, whether it's because of computers or new materials, would we expect skyscrapers in the future to look any differently? I think some people would love to go back to the 1930s style. They love that style of skyscraper, and they don't like the glass-and-steel, very rectangular skyscraper; they want it to look like Gotham City or something.Actually, if you look in Manhattan, in Brooklyn there's one, I think they're calling it something like the “Dark Knight Tower” or the “Gotham Tower.” It's in Brooklyn and it has this almost art deco sort of —It slipped my mind, I was thinking art deco, yes.And there's a high rise apartment near Columbia University, which uses the same color masonry as the surrounding buildings. I think it's the Union Theological Seminary, which sold some of the land to build a high rise. It sort of blends in. So I guess the question is really architecturally speaking, and it's sort of hard to say. I think maybe there'll be some neo-historical buildings coming up here or there, but there's two things: One is that people like glass windows. People love to have light and views, and so that's really just pushing the glass buildings. I think developers like glass too, because it's easy to work with, and architects — if you're a developer and you want a super-tall building, you usually go to a handful of architects and you have some kind of design competition, and, chances are, you're going to get something that looks full of glass and has some funky geometry to it.But they seem more twisty than they used to, so they're not just perfect rectangles.Right, so you're creating a lot of illusion. The interesting thing is, at the end of the day, you can only have certain internal shapes because you need functional spaces, so you have to have illusion with the twisting and these sort of Jenga towers, and a lot of that is due to massive improvements in computer technology; so the rendering software has dramatically improved, the engineering know-how, the engineering technology improved, you can send your designs right to the manufacturer where they can then use the computer programs to design exactly the shapes and sizes.So it's the learning curve of every building that you do adds to the knowledge of how to do something a little bit different, or some version of something before, and also just massive computer power. I think there'll be a lot more of these sort of funky architectural shape. How they hold up, only time tells. In the '80s there was this massive postmodern boom with all kinds of pastiche-type buildings with all kinds of references to old buildings, and funky buildings, and some of those haven't held up as well.Frankly, I'm from Chicago, and I know exactly what you're talking about. Also being from Chicago, I appreciate you calling that building the Sears Tower rather than what other name they try to put on it. Last question: Do you have a favorite skyscraper?I'm from New York and I like the Empire State Building, and it's not just because architecturally a classic building, but it speaks to New York as a city of strivers. And the more research I did into the Empire State Building, the more I appreciate the sheer guts of these guys who built this building. And the thing is, when it was completed in 1931, Great Depression was really starting to kick into high gear, and so the building was unrented, and it kind of gave this whole mythology about how these guys didn't know what they were doing, but when you crunch the numbers, they knew exactly what they were doing. They knew what the landscape looked like for New York, and the costs, and the revenues. Nobody saw the Great Depression coming, and so to say that the Great Depression showed how foolish these were, I just think it's a bad standard to hold them to. And if you look at the revenues and them building value over its 90-whatever, 93-year history, it's been a money-maker for almost a century. After the Great Depression, it recovered and has become an icon and a moneymaker, so what's not to love about that?Faster, Please! is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. 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Aaron Lubeck and I sat down in Cincinnati, during CNU 32, to talk a lot about housing, policy, and how to actually make change. Aaron writes a Substack called On Housing, where he frequently explores these issues. And, he's one of the founders of Southern Urbanism, which has a terrific array of writers and feature pieces.Some of the posts we discuss:I am Going to Gring Back the Sears HomeWhat's Next for Jane Jacobs' Sidewalk Ballet?A Brief Detour to Honor My Old LadyHow North Carolina became a leader in building code reform to enable affordability.From my archives:Let Urban be Urban, Let Suburban be SuburbanThe video of my presentation on Suburban vs UrbanMomFind more content on The Messy City on Kevin's Substack page.Music notes: all songs by low standards, ca. 2010. Videos here. If you'd like a CD for low standards, message me and you can have one for only $5.Intro: “Why Be Friends”Outro: “Fairweather Friend” Get full access to The Messy City at kevinklinkenberg.substack.com/subscribe

On this week's program, we bring you highlights from a great event that took place at the Main Public Library on May 21st called "Walkable Louisville: a conversation with urban planner and author Jeff Speck." The University of Louisville's Urban Design Studio Sustainable City Series presented renowned urban planner and author Jeff Speck as he shared his insights on reimagining downtown Louisville through the lens of walkability and why fostering a pedestrian-friendly environment is imperative for a flourishing city. Jeff Speck is a city planner and author who advocates internationally for more walkable cities. As Director of Design at the National Endowment for the Arts from 2003 through 2007, he presided over the Mayors' Institute on City Design and created the Governors' Institute on Community Design. Prior to his federal appointment, Mr. Speck spent ten years as Director of Town Planning at DPZ & Co., the principal firm behind the New Urbanism movement. Since 2007, he has led Speck & Associates — now Speck Dempsey —an award-winning urban planning firm serving public and private clients around the world. With Andres Duany and Elizabeth Plater-Zyberk, Mr. Speck is the co-author of Suburban Nation, which the Wall Street Journal calls "the urbanist's bible.” His 2012 book Walkable City was the best selling city planning title of the past decade and has been translated into eight languages. He is also the principal author of The Smart Growth Manual and Walkable City Rules. Jeff Speck has been named a fellow of both the American Institute of Certified Planners and the Congress for New Urbanism. In a recent Planetizen poll, he was voted one of the ten “most influential urbanists of all time.” Mr. Speck was the 2022 recipient of the Seaside Prize, whose former awardees include Jane Jacobs and Christopher Alexander. His TED talks and YouTube videos have been viewed more than six million times.

El 4 de mayo en varias ciudades del mundo y Estados Unidos se celebra el cumpleaños 108 de la activista y urbanista, Jane Jacos, defensora de la ciudad desde la mirada y la experiencia de vecinos y peatones, que cambió definitivamente la forma de mirar y analizar los fenómenos urbanos. Escucha El Cocodrilo con Sergio Almazán todos los sábados de 16:00 a 17:00 horas y los jueves de 22 a 23 horas. Por MVS 102.5 FM.See omnystudio.com/listener for privacy information.

Jort de Vries is a scholar, researching the integration of knowledge in Marine Spatial Planning policy and maritime development for his PhD at the University of Groningen, the Netherlands. Jort also works as an advisor at Deltares, a Dutch company at the forefront of knowledge production concerning coastal, water, maritime and general delta management.  Jort just published the first paper of his PhD titled "making knowledge matter, understanding and improving knowledge integration in Dutch marine spatial planning policy" which can be accessed with the following link: https://authors.elsevier.com/sd/article/S0964-5691(23)00453-2 Jort recommends the following book, which demonstrates how spatial planning, when integrated with knowledge and interests from all relevant stakeholders leads to valuable, efficient and healthy spaces for communities, whereas the opposite can lead to segregation, crime and general dissatisfaction:  "The life and death of Great American cities. by Jane Jacobs" A book which demonstrates the Dutch way of looking at space is: "environmental planning in the Netherlands, Too good to be true". by Gert de Roo.  Finally, if anyone is interested in the kind of research programs Jort is involved with when it comes to informing Marine Spatial Planning and Offshore Wind Farm policy, the following video provides an overview of current efforts: https://www.nwo.nl/en/cases/what-is-the-environmental-impact-of-wind-farms-in-the-north-sea

“Something about the motion of walking is conducive to generating both ideas and conversation. You can empty your mind and open your mind at the same time.” —Kevin Kelly In this episode of Deviate, Rolf reports from a “Walk and Talk” across northern Thailand. Interviewees and conversation topics are listed by time-code below. Participant write-ups about (or alluding to) the 2023 Thailand Walk and Talk include: The Walk and Talk: Everything We Know, by Craig Mod Walk and Talk: Everything We Know (PDF document), by Kevin Kelly Walking the Heck out of Thailand, by Craig Mod Walk and Talk, by Derek Sivers Expanding Home, by Liz Danzico Where Do You Call Home?, by Jason Kottke 2023: Walking, by Dan Wang Why Not Pay Teachers $100,000 a Year?, by Daniel Pink Kevin Kelly (4:00-15:00) Kevin Kelly (@kevin2kelly) is a photographer, writer, and futurist, with much of his work centering on Asian and digital culture. His newest book is Excellent Advice for Living: Wisdom I Wish I'd Known Earlier. Travel can be a way to see the future (Deviate episode) Kevin Kelly on the lost world of 1970s Asia (Deviate episode) Wired (technology magazine) The Cotswolds (region in central Southwest England) Liz Danzico (15:00-27:45) Liz Danzico is VP of Design at Microsoft, and the Founding Chair of the MFA Interaction Design Program at the School of Visual Arts. Long-distance hiking at home (Deviate episode) The Death and Life of Great American Cities, by Jane Jacobs (book) Lets Drift (Kenyan hiking club) Hoka (brand of walking shoes) Silvia Lindtner (27:45-46:00) Silvia Lindtner is a writer, ethnographer, and Associate Professor at the University of Michigan. Her book Prototype Nation: China and the Contested Promise of Innovation was published by Princeton University Press in 2020. Seeking rural places (Deviate episode) Jiangxi (Chinese province) Guangdong (Chinese province) Yunnan (Chinese province) Salzburg (city in Austria) The Vulnerable Observer, by Ruth Behar (book) Anna Greenspan (media professor) Communitas (unstructured community of equals) Daniel Pink (46:00-52:00) Daniel Pink is a best-selling author of books on work, business, and life. His “Why Not?” project in collaboration with the Washington Post to aims to jolt America's imagination about possibilities. When: The Scientific Secrets of Perfect Timing, by Daniel Pink (book) Drive: The Surprising Truth About What Motivates Us, by Daniel Pink (book) The Power of Regret, by Daniel Pink (book) Craig Mod (52:00-69:00) Craig Mod is an author and photographer who has written and photographed about his walks across Japan, his love of pizza toast, and his life in Japan. Walk Japan (tour company) Rich Roll (ultra-endurance athlete) The Glorious Boredom of My Walk in Japan, by Craig Mod (essay) Kissa by Kissa, by Craig Mod (book) Things Become Other Things, by Craid Mod (book) The Deviate theme music comes from the title track of Cedar Van Tassel's 2017 album Lumber. Note: We don't host a “comments” section, but we're happy to hear your questions and insights via email, at deviate@rolfpotts.com.

New York City is a rich city with unique experiences and a rich history. Jane's Walk NYC gives you the opportunity to dive deeper into different cultural, historical, and unique aspects of the city, all for free! This year, NYC's Jane's Walk will take place from Friday, May 3rd, through Sunday, May 5th. While availability lasts, you can register for free walking tours through the hosting group's website, the Municipal Art Society of New York. Keep reading below to learn about some of the unique tours available, more about Jane Jacobs, and why you won't want to miss this once-a-year event!

Ever ponder why our feline friends emit those curious chirps when eyeing birds through the window? We kick off with a whimsical discussion about these endearingly odd behaviors before shifting to the silver screen's latest hot topic – the 'Roadhouse' remake. With Jake Gyllenhaal and Conor McGregor stepping into the dance-free zone of this classic's redo, we're stirring the pot and asking: is the magic of the original being sidelined for star power? Bedford Williamson joins us once more, bringing his sharp wit and cinematic savvy to the table, ready to dissect these film industry choices with us.Strap in for a rhythm-infused rollercoaster as we tackle the daring notion of musical numbers busting into the realms of action-packed franchises like 'Fast and Furious.' Could a high-speed car chase suddenly segue into a full-blown ballad? We explore the finesse required to integrate song and dance into unexpected genres, citing the charm of "La La Land" and the quirky beats of "500 Days of Summer." Yet, we're not afraid to call out missteps like that notorious 'Spider-Man 3' boogie. And what about "Brave"? Bedford contributes his expertise on whether a dash of Scottish folk could have seasoned Pixar's animated stew just right.Finally, we sweep through the stars with a symphony of ideas, from the catchy tunes of "Frozen" to the hypothetical melodies of a "Star Wars" space opera. Delving into the realm of musical casting, we applaud Hugh Jackman's transformation into "The Greatest Showman" and even flirt with the notion of a 'Joker' sequel, crescendoing into a Gaga-led spectacle. And as we pull back the curtain on a city's life through song, inspired by urbanist Jane Jacobs, we ponder the enduring significance of the arts in our AI-dominated zeitgeist. So, tune in for a harmonious blend of critique, culture, and creativity that's sure to strike a chord.Help these new solutions spread by ... Subscribing wherever you listen to podcasts Leaving a 5-star review Sharing your favorite solution with your friends and network (this makes a BIG difference) Comments? Feedback? Questions? Solutions? Message us! We will do a mailbag episode.Email: solutionsfromthemultiverse@gmail.comAdam: @ajbraus - braus@hey.comScot: @scotmaupinadambraus.com (Link to Adam's projects and books)The Perfect Show (Scot's solo podcast)The Numey (inflation-free currency) Thanks to Jonah Burns for the SFM music.

Prudence Peiffer's first book, The Slip, is the never-before-told story of an obscure little street at the lower tip of Manhattan and the remarkable artists who got their start there. For just over a decade, from 1956 to 1967, a cluster of dilapidated former sail-making warehouses became the quiet epicenter of the art world. Coenties Slip, a dead-end street near the water, was home to a circle of wildly talented artists that included Robert Indiana, Ellsworth Kelly, Agnes Martin, James Rosenquist, Lenore Tawney, Delphine Seyrig, and Jack Youngerman. As friends and inspirations to one another, they created a unique community of unbridled creative expression and experimentation, and the works they made at the Slip would go on to change the course of American art. Peiffer pays homage to these artists and the impact their work had on the direction of late 20th-century art and film. This remarkable biography questions the very concept of a “group” or “movement,” as it spotlights the Slip's eclectic mix of gender and sexual orientation, abstraction and Pop, experimental film, painting, and sculpture, assemblage and textile works. Despite Coenties Slip's obscurity, the entire history of Manhattan was inscribed into its cobblestones—it was one of the first streets and central markets of the new colony, built by enslaved people, with revolutionary meetings at the tavern just down Pearl Street; named by Herman Melville in Moby Dick and site of the boom and bust of the city's maritime industry; and, in the artists' own time, a development battleground for people like Jane Jacobs and Robert Moses. I caught up with Peiffer, in the Fall of 2023 where she unpacked this group portrait, one of my favorite books of the year. Listen to hear Prudence Peiffer discuss the history of Coenties Slip.

In part one of our interview with Brookings Metro fellow Tracy Hadden Loh, we discussed lasting influences of post-pandemic work trends on urban design and governance. Although it is the most recent example, the COVID-19 pandemic is not the first major disruptor of economic activity within major U.S. metros, and it certainly will not be the last. A century earlier, the widespread adoption of automobiles changed the way metropolitan areas function to this day, allowing for mass migration to the outlying suburbs of once-booming central cities. Knowing that perennial industrial and population growth is a fickle thing to maintain, more city leaders, developers, and urban planners are re-acquainting themselves with the idea of ‘placemaking' as a method for creating a resilient community culture. Popularized in the mid-twentieth century by pioneers like Jane Jacobs and William H. Whyte, the placemaking movement in the U.S. has long lauded the potential for urban living to foster human connections. Placemaking has since seen a twenty-first-century revival that has gained renewed energy as urban advocates aim to recover city life that was lost during the pandemic—with new insights into the values of equity and sustainability. In this second and final half of their discussion, Tracy Hadden Loh and Ten Across founder Duke Reiter will discuss the ambitions of the placemaking movement, and how it can improve the urban issues that were covered in the previous episode. Articles and sources referenced in this episode by order of appearance: “New census estimates show a tepid rise in U.S. population growth, buoyed by immigration” (Brookings, January 2023) Hyperlocal: Place Governance in a Fragmented World (Vey, S. Jennifer; Storring, Nate, 2022) “How a ‘Golden Era for Large Cities' Might Be Turning Into an ‘Urban Doom Loop'” (The New York Times, November 2022) “The Perfect Height for Urban Buildings” (Next City, February 2024) “Opinion: A Life Without a Home” (The New York Times, February 2024) “Homelessness in US cities and downtowns” (Brookings, December 2023) “AG suing Arizona landlords for ‘corrupting' market, colluding to keep rents high” (12News, February 2024)

Of all the parts of this enjoyable conversation with Seth Zeren, now of Providence, RI, the part I liked the most was this quote:The worst fight is with your allies that betray you.The quote, which is mostly about perception, says a lot about people who are frequently in heated agreement with each other, but find themselves disagreeing on something that's very minor in the big picture. We discuss this as we discuss his post called, “When New Urbanists and YIMBYs fight.”Seth has a great Substack, talking about all the overlap in his interests from city planning to development and more. His path and his passion are impressive. From his early days working in local government, to now the cold, hard reality of making development projects work. And what's next? Perhaps some place management, perhaps some housing policy advocacy, perhaps just more really interesting redevelopment projects.Find more content on The Messy City on Kevin's Substack page.Music notes: all songs by low standards, ca. 2010. Videos here. If you'd like a CD for low standards, message me and you can have one for only $5.Intro: “Why Be Friends”Outro: “Fairweather Friend”Transcript:Kevin (00:01.269)Welcome back to the Messy City podcast. This is Kevin Klinkenberg. I'm excited today to have Seth Zarin here with me on the podcast. Seth and I have met in the past and corresponded a little bit. Seth has a sub stack that I definitely recommend called Build the Next Right Thing. And he's in Providence, Rhode Island, which is actually, I think, one of the sort of most underratedsmaller cities in the country. I've always really liked Providence, enjoyed it. So Seth, welcome to the podcast. I know we're going to have a lot of good things to talk about. We're going talk some housing and some other stuff, but glad to have you on so we can do this.Seth Zeren (00:43.574)Thanks Kevin, it's nice to be here.Kevin (00:46.261)I think, you know, Seth, I want to kind of start by talking about you're another guy who has a really interesting path and background into becoming into the development world, which is what you're doing now, but certainly not at all where you started. And I wonder if you could kind of walk people through your professional background and then even like why you wanted to do a sub stack.in the first place, as some of us silly people do to put thoughts out in the world.Seth Zeren (01:19.862)Yeah, absolutely. I usually introduce myself when I meet people by saying that I'm a former climate scientist, recovering city planner, turned real estate developer. I usually get a laugh on recovering. Much like people who have all sorts of addiction issues, city planning is something that you always kind of in the back of your head, always kind of want to work on, but can be really challenging.Kevin (01:35.381)Ha ha ha.Seth Zeren (01:48.918)I'm actually from California. I grew up in the San Francisco suburbs, south of the city in Silicon Valley, basically. And by the time I graduated high school, it was quite clear that I would never be able to afford to live there. At that point, houses were selling for about a million dollars for a little ranch. Now it's about $3 million. And so by the time I left for college, I sort of knew that the housing situation there had been a little bit of a mess.broken so much that it was really unlikely that I would be able to find a good quality of life there for myself at that time. In college, I ended up studying geology and climate science. So I was a geology major, geosciences major, and I narrowly averted the PhD. I dodged it, fortunately, and I found myself really becoming interested after college. I went and lived in South Korea for a year and I taught English there. AndIt was such a different experience than growing up in an American suburb or in a small town where I went to college. And it really got me thinking a lot. And when I came back to the U S and I went and worked at a boarding school while I was figuring out what I wanted to do with my life. And I started to read about cities and urbanism and architecture. And I realized that, Oh, actually at the time I thought I wanted to go to school and do architecture, but I was really intimidated by portfolio and drawing. And I had, I was a scientist. I mean, I could do data.I understood geology, but, um, so I was really intimidated by that. I ended up going to an environmental management program at Yale where I could kind of moonlight in law and architecture and business. And so that was kind of my entree. And I discovered I really liked zoning at the time. Uh, and I like to say like, I like board games and zoning is basically just the biggest board game imaginable. It's a huge map, bunch of colored spaces and a really long rule book, which was totally my jam. And.Kevin (03:38.485)Yeah. Yeah.Seth Zeren (03:46.038)So I was a zoning, big zoning nerd. I interned with the planning department, but you know, in between the two years of graduate school and then got a job as a zoning official after graduate school for Newton, Massachusetts, which is kind of that wealthy first ring suburb outside of Boston where the doctors and professors go to have children. And, uh, I was there for about three years before I kind of realized this was not the place for me. I wanted to do stuff. I wanted to shake things up and.One of the dynamics you'll encounter when you find a sort of a wealthy sort of trophy suburb, right, is that people buy there because they like what it is. Right. So the political dynamic in a place like Newton, like many wealthy suburbs around many cities in America is people are buying a particular place and they want it to stay that way. That's what they bought. And so there's a real change aversion there, which was just a bad fit for someone in their twenties, whose master's degree and wants to get stuff done. And.I had also at the time had the opportunity to work with a bunch of developers. And this was coming out of the financial crisis. So there wasn't a lot happening right away, but slowly, slowly things started to get back in gear. And after about three or four years there, I decided I was going to jump ship from the, from the planning side and eventually found myself working at a development shop as a development manager, kind of coming in to do the permitting work. Right. So I just basically switched sides. I was going to go do permitting for the developer.moving complex projects through design review and master plan approval and stuff like that. And I did that for my sort of early apprenticeship for about three or four years. And got to the point where, you know, I got married, we thought about buying a house and realized Boston was also too expensive. So we started considering other places and Providence was nearby. We'd visited, we had friends here. And at the time, certainly it was massively more affordable than the Boston Cambridge area.So we moved down here about eight, maybe nine years ago, about. And so I was working as a development manager, you know, for a larger firm. And then when I came down here, I was still working remotely, but I connected with some local developers and eventually joined a local firm, Armory Management Company, which is a 35 year old, almost 40 year old partnership now that has done historic rehab.Seth Zeren (06:09.782)Main Street revitalization ground up in field development and came on board here, you know, also as a development manager and kind of worked my way up. Now I'm a partner and working on kind of the future of the firm and future of development in the Providence area. So that's kind of my, my origin story. It's one path. I haven't met a lot of other people who've come through the planner path into development. I would say that I was one of those people that you probably remember this, Kevin, you know, whatever eight, nine, 10 years ago at CNU.There was this whole conversation about why are you working for shitty developers? You know, to architects, planners, engineers, go be your own. And I took that very much to heart and was trying to find a way to do it. And I've kind of managed to find a way to do it, come through that.Kevin (06:54.709)Yeah. Yeah. I mean, I have met a few other folks who kind of started in the planning route and then ended up in development. But yeah, you're right. There's not too many. I mean, one thing I'm curious about, Seth, so like I'm a Midwestern or so. I don't have that experience of growing up someplace and then realizing like I'm never going to be able to come back. I mean, so a lot of Midwesterners like myself leave at some point.And then often we find our way back home, but it's like, and there may, there's lots of reasons why people do the things, but there's never seems to be this like logistical issue that says, well, I'm just not going to be able to afford to come back where I grew up. What, what's that? And what's that like to at some point have this realization in the place you grew up in, which you probably have some really fond feelings and memories for that you just, you weren't going to be able to make it back or you weren't going to be able to afford to.make it back. That must be a strange feeling.Seth Zeren (07:55.414)It is, and I will say it becomes a lot stranger when you have your own kids, which I have now. I have two young children and we go back to California, you know, once maybe twice a year visit my parents who are still in the house I grew up in. And you know that neighborhood that I grew up in, you know, hasn't built. More than a couple net new homes in the last 50 years, right? Homes get torn down and they get replaced by bigger homes, but.Kevin (08:00.501)Yeah, sure.Seth Zeren (08:24.246)There's no net additional homes. But my parents raised three kids in that house who all have their own households. My parents are still in that house. So sort of mechanically, if you have a neighborhood that doesn't add any homes, you're essentially, but you have, but you have children, those children have to leave, right? Mechanically, right? And if you then multiply that across an entire region, well, then they have to leave the whole region, which is like why people have to leave California. And I, so I have a very,like complicated relationship with it. It's like, obviously, it's my home, it has like a smell and weather and just like the culture that is what I grew up with. It's it's I have nostalgia for that. But I also go whenever I go back there, I'm like, this place makes me crazy. Because it's not like you couldn't build more buildings, you know, you couldn't, it's not like the soil can't support more buildings, right? There's no physical limitation, really. It's the self imposed limitation. And then when you go back, especially,after the last 20 years or so, and you look, you know, here's a region in the world that is the current sort of nexus of tremendous wealth accumulation, right, the Bay Area. And what did we get for it? Right, we got kind of mediocre drive it strip malls, and the, you know, single family houses that go for three and a half million dollars to $5 million. You know, it's similar times in the world, we got, you know,London, Paris, New York, Chicago, Shanghai, Tokyo, like these metropolitan areas were built and there's this tremendous physical capital that's created by economic growth. But in the Bay Area, it's, it's, it's, it's, so it's kind of depressing for me. I feel like it's helpful to go back as a, as like a cautionary tale, you know, it's, it's a, it's a practice, you know, you have to go to the meditation retreat and struggle. And that's a little bit like what it is for me. Um,So you would ask why I write and so I'm a full -time developer. I run, you know, commercial development, residential development, run commercial leasing, a lot of architecture design permitting, you know, I would say, you know, there's a lot of different backgrounds. One can bring into the development world and all of them come with different strengths. Uh, being the planner background gives me a lot of facility with permitting. And so zoning is an area where we're really effective zoning historic.Seth Zeren (10:50.74)neighborhood relationships, all that kind of stuff. And then finding value in buildings that other people don't see because we look around at what other people are doing in other parts of the country and we're able to import those ideas and try things out. Other people have different advantages that they bring. The reason I write is probably like you, I've got like some thoughts in my head that I have to get out. And, you know, development is a great practical.you know, craft practice, you know, and it's, I mentioned, I think earlier apprenticeship, like there are a few schools that teach development, real estate development, kinda, but mostly they teach what we think of institutional development. So if you want to go build a skyscraper, go to MIT or Columbia. Fine.Kevin (11:37.333)Yeah, MIT's got those great courses and everything else that, yeah.Seth Zeren (11:39.51)Yeah, and like, totally fair. Like, that's a reason that's a thing that makes sense in the world, but it's not going to help you, you know, renovate a triple decker or, you know, put up an ad or or renovate a Main Street building. It's just not the skill set. They're not teaching that. So it's an apprenticeship. I mean, it's still really an apprenticeship job. You have to go and you have to go through a lot of stuff and struggle and you see all the pain and suffering and you go through the stress andKevin (11:53.877)Yeah. Yeah.Seth Zeren (12:08.726)You start to learn stuff and it's one of those jobs. There's so much to learn that you, you know, here I am 40 a partner doing a bunch of development work and I'm learning stuff every day, right? And we're all learning stuff every day. So it's it's really satisfying in that way, but. It's not necessarily intellectual job, right? I mean, thinking about stuff is important. Math is important. Those are all relevant things, but it's not the only thing that matters. And so I write because trying to figure out some stuff, right? Trying to figure out.for myself, but then also how to explain things to other people. Um, cause one of things I say to people is that, and I learned this when I became a developer is that like as a developer, I had more in common with the blue collar tradespeople without a college degree in terms of my understanding of the built environment than I did with someone who had my equivalent class background, education, income level, like an attorney or something, right?They live in a house that they bought from someone else, right? They are a consumer of the built environment, but they know very little about how it gets built. They don't get under the hood. But conversely, like I, you know, the plumber and I under, you know, we're in it together. Now we have very different jobs. We might, you know, we're having a different experience of it, but we both are seeing this world. We're both participating in the making of stuff. And so we end up with this very different environment. And then.because of the way we've regulated the built environment, now there's this huge chasm between the people who build the cities and the people who consume the cities that are built for them. Because people don't build much for themselves or for their cousin or for their neighbor.Kevin (13:44.533)Yeah, yeah, that's a, I mean, that's a really interesting point. I like that Seth. And it sort of resonates with me too. And, you know, in my experiences in design and development and you get some of that in architecture too. If you're the kind of an architect who you spend a lot of time doing construction administration or on job sites, you really, I think get a very different feel for that than if you're just kind of working in schematic design all the time. But yeah, that art of.creating things. And this is what I kind of often tell people about development. One of the things that just completely, like routinely frustrates me is this sort of parody of developers that's put out in the world. It's like, you know, as the black hat evil people trying to, you know, ruin cities and, and not this understanding that actually, and not that there aren't those people, there are some, you know, there are crappy people in every field. But most developers are just simply in the act of creating things that other people are going to use.Seth Zeren (14:36.278)Yeah.Seth Zeren (14:44.022)That's true. And I say that all the time as well. And I would add to that, that one of things that's interesting about development, right, coming from planning. So like real estate or city planning, right? Graduate degrees, conferences, magazines, there's even a licensure, right? You get your AICP, go to the conference, get the magazine. It's a profession. Real estate development isn't really a profession.Kevin (14:44.181)Like that's the whole point.Seth Zeren (15:11.254)You get $2 million and buy a CVS, you're a real estate developer. There you go. You put it on your business card, it's your real estate developer. So there's no professional boundaries for good and for ill. I mean, sometimes I think the boundaries around some of these professions are actually really harmful, but you kind of know what you're going to get. You know what the professional culture is and you kind of know how it changes and you know the institutions. Development really doesn't have any of that. Even the Urban Land Institute, ULI, which is a major player still like,compared to like the APA and planning is minuscule. And so like part of the challenges is that, so that's one piece of it. It's not really a profession. The other piece of it is that one of the things that's happened in the 20th century is we blew up our development culture, right? We had an ecosystem of building places, you know, that was the design, the construction, the operations, the leasing, the materials.the trades, there was a sort of ecosystem of it, and we kind of blew it up. We radically transformed it over a short period of decades. And so there's no continuity. So when people do development, there's not a sense of there's any kind of private constraint or private rules. So it feels even less like there's a profession. There's not like a coherent culture, we're going to build more of that, or we're going to evolve incrementally from a coherent culture of building.We're just going to build whatever you end up. That's where you end up with the like two story building with a mansard. That's like with the weird landscaping. It's just this weird Chimera because the developer and to a large extent, the architects have no grounded. There's, there's no like lineage they're working from. There's no continuity. They're just throwing stuff at the wall, you know,Kevin (17:00.341)Yeah, yeah, yeah. And I think one of the other aspects is that in development, so many of the players in the non -institutional world are entrepreneurs. At their heart of hearts, they're entrepreneurs. And it's hard to gather together a whole group of entrepreneurs who are, in some sense, in competition with each other all the time, to feel like a common sense of purpose.Seth Zeren (17:25.174)Yeah, and they're often grinding for their own private gain, which in many parts of the United States is sort of seen as not good, right? Profit is bad to a lot of people. And I think that's unfortunate because while certainly people can do bad things and that's not good, making a profit from doing good things is good. It's a good sign. It means you get to do more of it, right? We say we have to make a profit because that's what we, that's the...Kevin (17:30.101)Yeah.Seth Zeren (17:53.062)seed corn for the next project, right? If we ate all of our seed corn, we would have no next project, right? And if we run out of seed corn, we all starve, right? So you don't get to lose money very many times in real estate before you're out of the game. So it's...Kevin (18:05.685)Yeah, well, and nobody bemoans the local cafe or the barbershop or whomever from making a profit. We all want them to make a profit and succeed, but for some reason, the local developer in a business that's far riskier and more expensive, it's like we completely beat them up about the idea that they actually need to make money to keep going.Seth Zeren (18:22.326)Yeah.Seth Zeren (18:27.606)Yeah. And I think part of it is that there is part of this change in building culture, right? Is that there is where there is more of, or a greater percentage of the built of the new development is sort of seen as done by outsiders for short -term gain. And then they're gone. You know, you'll you've talked to other folks in the incremental development world between the farmer and the hunter, right? And it's we're, we're 90%, 95 % hunters now, you know, instead of 25 % hunters. And that just really changes.Kevin (18:41.397)Yeah. Right.Kevin (18:48.661)Yeah, sure.Seth Zeren (18:56.918)the relationship. So we're a local firm. I work in the neighborhoods in which we live. We work down the block from our projects. If we do a bad job, I have to look at it every day. People know who I am. They're going to yell at me. Like there's a level of responsibility. The profits are most, many of the profits are being reinvested again locally into the next project or into donations to local organizations. So it gets it, you know, not, it's not just as a matter of credibility, but as a matter of like the actual development culture and ecosystem, it's just a better way of life. Um,I think one of the things that's key though about the developer image, right? Is that there was this real period and formative period for, for you and for me, like in the 60s, 70s, 80s of the real estate developer is always the villain, right? And every hallmark movie and every, you know, real estate developers are always the bad guys. And it's a really easy trope, right? It's, it's, it's change for, you know, we're going to change something that's here now that's good for profit, you know, and then they're going to be gone. Um, we don't have any valorous.Kevin (19:37.811)Mm -hmm. Mm -hmm. Sure.Seth Zeren (19:56.442)examples of the real estate developer in popular culture. And I think if I had a magic wand, I would like I would have some great popular sitcom about, you know, a real estate developer, young Latino builder in LA doing interesting stuff and growing over the course of seasons and be hilarious because there's so much tragic comedy and development. So if anyone out there wants to pitch a show to Hollywood, that's that's what I would pitch. Oh, my God, no, that's not me.Kevin (20:19.893)Well, I think you've got your next screenwriting gig. So, give us an example of a project that you're involved with now, something you're working on to get people sent to what you're doing.Seth Zeren (20:31.798)Yeah, so yeah, I'll give two quick examples. So we just finished a rehabilitation of an historic structure, four story masonry building that was converted back to residential, right? It had been turned into actually a nursing home. It was first as a hospital than a nursing home in the 20th century. It was originally built as four brick row houses. And so we brought that back to residential. That just finished last summer, 12 units. And that project was really great. It's really beautiful building.We are a little bit counter -cultural in some times what we do. So we built, in part following the logic of the building, because we were doing a federal historic tax credit project, we didn't want to torture the building. So the units are large. We have, you know, 1500 square foot, two bedroom, two bath apartments, which is on current construction, like weird. It's just, they're really big and they're expensive as a consequence of being big. But what we're finding is there are people who will like nice stuff, and they're willing to pay.more for an apartment. And it's still cheap compared to New York or Boston. It's expensive in Providence, but there are people who will pay that. And right now we're working on the second phase of that project. So that's probably 26 unit building. We're going to try to get some three bedroom apartments in that, which is again, sort of philosophically, we think it's important that there are places where families could live in multifamily housing. It's on a park. It's a beautiful location. And then the project we just started,As we acquired a 50 ,000 square foot mill building in a kind of old industrial area of the city that has, it's one of those things where the previous owner kind of ran out of money and attention. So some things got done, but not other things. So we're finishing that up and that project, we are actually going to complete sort of the previous owner's plan, which was to create modestly priced commercial spaces. So we, in our portfolio, about 50, 50 residential and commercial, which isn't.necessarily by strategy. It's just sort of where we've ended up. Uh, but I think on the margin, we're a little bit more comfortable with commercials than the typical developer or landlord in our area. So because we run so much of it and it's full, I mean, we're 95, 97 % full and commercial across 300 and something thousand square feet. Um, and that's because we price to rent it, you know, and we take a good job caring for it. Uh, we follow the advice of making things smaller if they don't rent.Seth Zeren (22:57.878)Right? So if you make them smaller, then you make the rent smaller, which means more people can rent it. Um, and there's turnover, but you have a reusable unit, just like an apartment, people move right into it, uh, run their business out of that. So it's been good. I mean, you know, who knows things could always change, but we see a lot of value in, you know, one of the things that happened in American cities is disinvestment and white flight took place was not only did the people leave, but I'll sort of all the businesses.So it's like, what is your dentist? Where's your doctor's office? Where's your accountant? Where's your graphic designer? Or, you know, where's your retail shops, you know, your salons, your banks, your restaurants, your bars and restaurants and bars usually come first, but that's only a piece of the ecosystem. You know, it's a whole, you know, you need gyms and retail stores and yoga studios. And I know that sounds kind of trite, but it's sort of a, a, a curating kind of orientation. So this building, part of the strategy is to create a building that is safe.and modestly priced and not pristine so that it's a building in which people can do work. So it's artists, fabricators who have real businesses but need a space to operate their real business. It's not just a crazy building, spray painting the walls, but a reasonable building, not too expensive, not too fancy, but safe. Sprinklers and a roof that doesn't leak. So that's kind of our current project.Kevin (24:16.149)Yeah. Yeah. That's a great model. It reminds me a little bit of one of Monty Anderson's projects in South Dallas, sort of a similar deal, large former industrial building and essentially a minimal, very minimal tenant finish, but incredibly flexible. And if it's priced right, it, you know, in his case, at least up, you know, very quickly. That's a cool model. So I didn't really have any, a whole lot of personal experience withProvidence probably until the CNU was hosted there in what was that? Mid 2000s or so. Which was the best Congress up to that point and the best one until we hosted one in Savannah, of course. And anyway, I was really impressed by Providence. I thought it was...just an incredibly interesting city, very walkable, really cool architecture everywhere, nice downtown. Just seemed like it had a ton of assets, especially in that region. And like you said, priced very differently than Boston or New York. And so I'm curious about the last decade or so, what's going on in Providence. How's the market there? How are things changing? And as a...more of like a third tier city, what do you see that's different compared to some of the larger markets?Seth Zeren (25:47.094)Well, I think that the big story of the last 10 years is that we're no longer kind of isolated on our own. And I don't know if that's mostly a combination of remote work or if it also has something to do with just how expensive Boston and New York have become and other cities. And Providence has seen some of the highest year over year property appreciation in the country. So you're right. It's a nice place to live, you know, and then if you're paying, you know,$3 ,500 a month for, you know, kind of crappy two bedroom apartment in Somerville, you move to Providence and you can get a really nice apartment for $3 ,500 or you can save a bunch of money. And so that it's not so similar for me, right? We moved down here because it was cheaper. And so that adds demand. It adds demand in the upper end of the market. So a big part of what's happening in Providence, Rhode Island is, is that there's a relatively small number.but of people with a fair amount of resources, income and capital moving here. And the state chronically, because it's sort of been tucked away for a long time, it has very little home construction, right? We are the last, second to last, third to last in per capita home construction every year for the last few decades. And so the intersection of those two things is causing a really crazy housing spike and a lot of angst.And for myself, this is one of the places where like my own experience growing up in the Bay Area and then having my own kids has really hit home because, you know, I know in 20 years, I'm still going to need a house to live in. And my two kids are probably each going to want their own house to live in or apartment. Right. So I either got to build them one. They're going to buy yours or they got to leave. It's math. Right. And so it's put the question of housing shortage kind of on the sharp end of the stick for me personally.Right? Is, you know, am I going to be able to see my grandchildren more than once or twice a year kind of thing? You know, and that's a big deal. Right. And I know people don't quite appreciate it yet. I feel a little bit like a harbinger of doom sometimes because in Rhode Island, the feeling is like this could never happen here. Right. Because we're kind of this backwater sort of economically hasn't done well since deindustrialization. You know, there's some bright spots, but it's a little tough and nice quality of life, but not too expensive. And that whole script.Seth Zeren (28:13.142)of worked for a generation or two, but it's not relevant anymore unfortunately. And then that psychic cultural transformation is going to be really hard.Kevin (28:23.541)So coming from the background that you came from, how do you compare the development or the regulatory apparatus in Rhode Island and in Providence compared to places you've worked or pros and cons and what's going on there?Seth Zeren (28:36.086)Oh boy.Seth Zeren (28:41.494)Yeah, when I go to CNU and I'd say I'm from New England, they're like, how do you work there? Because it's hard. Yeah, we're more heavily regulated region. I think that in some ways that's beneficial to someone like me, right? If you're good at navigating the rules, then it's actually to your advantage to work in a regulated market because there's, you I'm not competing on how cheaply I can put up drywall. I'm competing on who can come up with the most creative use of land and get through the regs.Kevin (28:45.685)Ha ha ha ha.Seth Zeren (29:13.686)It's, you know, Providence itself has a mod, what I would call like a modern zoning ordinance. It's got a lot of, you know, there's things I would quibble with, there's things I would change, but it's basically a functioning ordinance that like does the right things more or less, right? And which is great. We mostly work in Providence. I'd say the rest of the state, like most of the rest of New England, it's still like 1955 and there's no...resources, no political impetus to like really fix that yet. I've, I've helped one of my responses is I helped found last year a group called Neighbors Welcome Rhode Island, which is a sort of strong towns meets UMB type or organization that we're still kind of launching a website now. We're working on legislation, state level legislation, and also trying to support local organizing in these towns.Seth Zeren (30:14.998)So it's a, it's, it's, you know, very similar to the markets I'm used to. It's a new England place. Everyone's in everyone else's business. The place has been inhabited buildings on it for, for, you know, hundreds of years. I think one thing that's always interesting about, about new England though, you know, compared to the national conversation is the missing middle is not missing here. Like our cities are made out of triple deckers, twos, threes, fours, sixes all over the place.Kevin (30:37.653)Mm -hmm.Seth Zeren (30:43.062)Our problem is we don't know what comes next. So a city like Providence right now, the only plan is, and this is true, Boston and these places, you can, sure, you can build on the vacant lots and there's a bunch of vacant lots and you can build those for a while. There's gonna be some bad commercial buildings. You can build on those for a while. There's some old industrial land. You're gonna build on that for a while. But in a different way, but similar to the regions where everything's zoned single family and it's built out single family, you can't add anything.to the bulk of the neighborhoods, which are zoned for two and three family homes, because there's already two and three family homes there. And what we don't have, and I don't think anyone has an answer to this, is how do you create a building typology and a business model and a regulatory framework, building code, zoning code, et cetera, to add density to those neighborhoods, to take a three -family neighborhood and bring it to the next increment.whatever that is, because I don't, I don't think we have a model for that other than to go to a full like five over one big apartment building, but the land assemblage there is really prohibitive. So what's the next thing that's denser than three families on 5 ,000 square foot lots, but isn't a big commercial building. And I don't think we have an answer for that yet. I mean, as a urbanist architecture development community, and we certainly don't have a regulatory framework that will allow us to build it either. So that's like an R and D project. That's sort of a back burner curiosity of mine.Kevin (32:08.981)Does the regulatory framework allow you to build the triple -deckers in place?Seth Zeren (32:14.198)Uh, under zoning. Yeah, kind of under building code. No, right. Cause triple deckers are commercial code. So you need sprinklers. So you can't build them. The cost difference. You'd just build a big two family instead of building a three family. It's a much better strategy. So one of the things that neighbors welcome is proposing this legislative cycle to follow on North Carolina's example and Memphis's examples to move three, four, five, six family dwellings into the residential code. And, you know, with no sprinklers, a single stair. Um,And, you know, we'll keep the two hour rating, just add more drywall. Okay, fine. But, you know, that's one of the things we're proposing along with a single stair reform for the small apartment buildings. But yeah, I mean, it's a chicken and the egg, right? There's no point coming up with the prototype and you can't build it. But then no one wants to reform the building code because there's no prototype that makes sense that people are excited about. So it's really kind of trapped. And so, you know, that's an interesting challenge that we struggle with.Kevin (33:14.069)Yeah. Yeah. I mean, it's an interesting thing to think about what that next increment to would be beyond the freestanding, you know, triple deckers and stuff like that. Because, you know, I guess the first thing that comes to mind as you start to think about neighborhoods more like you would see in New York or Boston, certain parts of those cities that went to like five and six story walk up buildings that, yeah, yeah. And they're not.Seth Zeren (33:39.476)Buildings that touch. That's the big thing.Kevin (33:43.931)really townhouses wouldn't call them townhouses, but they might be like a five story walk up. Like you'd see, you know, on the upper East or upper East side or upper West side or something like that.Seth Zeren (33:49.598)Yeah.Seth Zeren (33:52.982)Yeah, there's two tiers, I think. There is a version that's more about lot subdivision, right? So we have decently sized lots and three families are big, but you might be able to get some more houses on them or bigger versions. And then I certainly moving to the part where you have party wall construction and the buildings that touch, you recover a bunch of lost area to thin side yards that no one can use. That tier is really interesting because you could probably keep them as owner occupant.Right? They'd be small, you know, two, three, four families, but on smaller piece of land, you know, buildings that touch whatever the next year above that, you know, which is like a single stair elevator, five, six stories, you know, 20 apartments. That's a commercial loan. It's a commercial operator. And, you one of the virtues of the triple decker, right, is that you have a distributed ownership, right? So that it's not just.You know, we have tons of landlords in the state, you know, because everyone I own, the triple decker I live in, right? Everybody owns, you know, a two family, a three family mom, grandma's two family, right? It's just it, there's so many opportunities for people to be small landlords for good and for ill, mostly I think for good, but there are, there are some limitations to it. Um, you know, so when I look around at international examples, right. You know, so for example, I teach real estate development on the side, cause I really care about bringing more people into this profession and not profession trade.craft, whatever. And I had some European students last fall, and I brought them to Providence on a field trip, took them around my neighborhood, which is, you know, to native Rhode Islanders like the hood. It's like the inner city. Ooh, scary. And they're like, this is a very nice suburb, right? Because to them, a bunch of detached two and three family dwellings with a few vacant lots in between them or parking lots, this is suburban density. And they're wrong. And they're not wrong. They're right.Kevin (35:19.893)Yeah.Seth Zeren (35:47.786)you know, historically like that, that was a transition. You'd go from town, right? Which is mostly detached, small multifamily buildings to herb to the city. The building starts to touch because the frontage is really valuable and you wouldn't just leave it for like, you know, five foot grass strips and whatever. Um, and so, you know, it still ends up being quite car focused because, you know, everything is sort of far apart and you know, you got to fill in the empty gaps.Kevin (36:13.781)Yeah. Yeah. I mean, a lot of that reminds me a little bit of what Jane Jacobs used to talk about in Death and Life of Great American Cities as sort of like the gray zones. Yeah, the in -between density.Seth Zeren (36:23.094)Yeah, the gray density. Yeah. And what I would say is what happened to my neighborhood to a certain extent, and I think this is true of a lot of American, you know, urban neighborhoods, you know, sort of pre -auto suburbanization is that what happened, there was so much, there was a lot of removal, even where there wasn't wholesale urban renewal, you know, mercantile buildings were taken down and replaced with a gas station, right, or a parking lot. And the church is, you know, brought down, you know, there's little holes in the fabric.And when I look at the neighborhood as like someone who thinks about cities and can see, can, you know, learns to look in that way, it's kind of looks like someone who's slightly sick, right? Their skin's a little pale, a little drawn, you know, there's a little yellow in their eyes. That's what it kind of feels like. And so it's about kind of filling it back up again. I think we've kind of, in a lot of cases, we kind of dipped down into the gray zone and we're trying to get back into it because once we get kind of out of that gray zone, adding density is good.Right, it brings more services, more people, which can support more businesses. And there's this positive feedback that strengthens the neighborhood and makes it better. But in the gray zone, it's like, well, is more people gonna make it worse? Like, what are we? It's a nice callback, because most people don't make it past parks in death and life. It's just too bad. I tell them all the good bits are at the end.Kevin (37:37.781)There's many good bits. But yeah, I think there's an interesting aspect of American cities in particular there where you have, and I think about this a lot, we wrestle with this so much in my part of town in Kansas City where there is a sort of urban density that actually works pretty well where everybody pretty much drives still, right? If you know what I mean, like it.Seth Zeren (38:05.526)Yep. Yep. Bye, Norris.Kevin (38:06.869)The parking is easy and it's just not that, it's not really urban, but it's not really suburban. And I think there was a generation of people who re -occupied a lot of urban places like that in the 70s and 80s in particular, who love it for that. They love the fact that they're like in the city, but it's like parking was easy. Now the problem is, yeah.Seth Zeren (38:17.91)Yeah.Seth Zeren (38:32.182)Yep, we have that here too, absolutely.Kevin (38:34.997)The problem is like historically that was a complete non -starter. Those neighborhoods had far more people, were far more urban. And by today's standards, it would have been incredibly difficult to have a car and drive it around everywhere and park it.Seth Zeren (38:49.258)Well, people forget that like you could have the same number of housing units and have fewer people because house hold size is so much smaller today. So the street is relatively empty, right? Compared to when grandma was living here, you know, 80 years ago, um, as far fewer people around.Kevin (38:53.365)Yeah. Yeah. Yeah. Yeah.Kevin (39:03.381)Yeah. And now with the prevalence of like one car per adult everywhere, the challenge of trying to upgrade those neighborhoods to become more like their historical predecessors, it does create a lot of conflict because then all of a sudden we are wrestling with the, it's really the car issue in many respects. Yeah.Seth Zeren (39:15.798)Yeah.Seth Zeren (39:22.774)Yeah, you're moving from one equilibrium to another equilibrium. And that's always really painful because it's going to reduce quality along the trip, even if you end up in a better place on the other side. You know, one of the things I find really helpful or really valuable, and I admired your work about this, is the business improvement district. And I don't know, whatever we call that microform of government. And we're involved in helping create one on a main street near us that has suffered from a tremendous amount of urban renewal and...Kevin (39:32.501)Yeah. Yeah.Kevin (39:46.003)Mm -hmm.Seth Zeren (39:53.3)institutional concentration and we're trying to figure out how to improve that. And one of things that I've learned from doing that is that the city, even with a pretty strong planning department, Providence has a good planning department, lots of good people, plenty of staff. It's not low capacity, but they got a big city to run, right? And they can't know it super deeply everywhere all the time, right? And here, and I'm involved because we own a bunch of property nearby and I've been working in the area for years. And so I get to know all the other owners and I get to know thethe nonprofits and the businesses and residents and you know, but I'm working on like eight square blocks, if that right. And I know that really well. I can talk about this block versus this block and this crosswalk and that curb and this parking lot and that, that tenant and you know, at that micro level. And it just seems to me that that's gotta be the future of a lot of this governance stuff. Cause to get out of that bad equilibrium is going to require a bunch of really careful.tactical hands -on changes to infrastructure, to private development, public, you know, all those pieces. And when I look at the whole city, I'm like, there's not enough coordination, right? There's not enough attention. There's too many things going on, too many fires to fight. It's at that micro level that I could kind of organize enough people, run the small planning exercise, coordinate the private development, coordinate the public investment and keep on top of everybody. But it's only, you know, eight square blocks, right? In a big city.So how does that work?Kevin (41:21.525)Yeah. Yeah. Well, it's something we've wrestled with a lot and we obviously do a bunch of it here, but I'm a big believer in, you know, place management at that scale. And I think one of the issues that we've seen over and over again is, you know, my city is even much bigger. It's like 320 square miles geographically. It's insanely large. Half a million people in the city limits. So like relatively low density for that large of a city, but...the ability of staff to actually manage all that and know what's going on. It's impossible. It's literally impossible. Yeah.Seth Zeren (41:57.142)Well, I've been city staff and I remember how insane it was. I mean, you don't get out of the building because you're too busy answering emails. You know, this is like you fight with the engineers or whoever about an intersection is like, have you ever stood in the intersection for an hour? Because I have, right? Because I'm there all the time. But you can't run the city, you know, not getting out into the field and seeing the mucky bits, right? And that's like.Kevin (42:17.045)Yeah, there's just a there's a huge mismatch in how we manage cities and their ability to change and solve just solve problems, solve basic problems.Seth Zeren (42:25.43)Well, so one of my questions is, is that in part because like the way we teach kind of all the pieces of city building and management is kind of like, and it feels like they're individually busted and then the system is busted. So like public administration, civil engineering, architecture, planning, you know, development, all, you know, whatever that there's a whole package of different professional schools that you could go to that would teach you these different skills, but none of them talk to each other.And so when they're graduates, I remember being a planner and then talking to the civil engineer Newton being like, we're from different planets, man. Like the words I'm saying, you don't understand the words you're saying, I don't understand, like, and no one's in charge. So we're just kind of like, because every department, one of the things that happens in cities, right, is every department is co equal under the under a mayor or city manager or something. So like planning department can't tell DPW what to do. They're the same level, you know, and so we're just kind of butt heads.Kevin (43:01.493)HeheheheheSeth Zeren (43:23.67)But planning is in a particularly bad situation because they don't have any shovels or trucks or much free cash or anything else. They don't get to do much. Their only power is persuasion.Kevin (43:33.525)And it's the first jobs that are cut whenever there's a recession too. But yeah, I mean, the whole industry is very siloed. And this has kind of been the classic battle of the new urbanism from the beginning was really the push from our side was to create generalists, that people who could pull everything together. And our charrette process was designed to bring all those people together and problem solve at the same time.Seth Zeren (43:36.83)Yeah.Kevin (44:03.317)And that actually worked really well, and it does work really well when you're able to facilitate that. The challenge you have in a lot of city governments that I've seen is that they're just like you said, they're all vertically, you know, all differentiated vertically and it's all siloed. And there's not a ton of incentive for the different departments to understand each other and work together unless you have a particularly strong executive who forces that to happen.Seth Zeren (44:28.662)Yeah, that's really the game. It's like, does your executive get it and care and willing to spend the time on it? You've said something really interesting in the past on other versions of this podcast, which is that, I don't know if I'll get it exactly right, but we spend like 50 % of the time on design, 40 % on policy and 10 % on implementation. And we should be like a third, a third, a third. Here's the thing. I feel like the charrette process is really great, but then the charrette leaves. New urbanists don't have, as far as I can tell, much of an answer of how you actually run the city.There's no proposal on how to reorganize the departments of the city government. There's no proposal on charter reform for cities or, you know, there's a whole universe of, you what should the education for a city manager be? Right. We have, we have an idea about what planning should do differently, you know, and so there's bits and pieces, strong towns, urban three, talk a little bit about the finance side. We're just starting to think about it. When you open that door, you realize, oh my gosh, where are the new urbanist police chiefs? Where are the new urbanist fire chiefs? Right.the controllers, the tax assessors, there's this huge apparatus of public entities that are out there. And I guess part of the reason why the place management is so cool is that you get to actually just be a little micro government. And instead of having to silo off every little bit of things, you're a taxing entity, you can also go hire people to put out flowers, you can also write regulations, you're a whole thing. And so likewise, I feel like the CNU universe has not yet...Kevin (45:47.541)Yeah. Yeah.Seth Zeren (45:55.19)really contended with like the mucky bits of administering, managing the city.Kevin (46:00.245)Yeah, I think that's totally, I think it's totally fair. And, you know, I got a lot of that thinking from Liz Plater -Zyberg who, and so the way she broke it down was design, policy and management. That's the three legs of the stool. Most of the people who came to the new urbanism originally and were most passionate were designers. So they had a very heavy emphasis on design. There were also a lot of policy wonks. So you got that policy piece, but yeah, very few people from.the world of understanding how to actually manage cities. And we've had a lot of interaction and bring people to the table and conferences and all, but I still think very little understanding in that world of how things work.Seth Zeren (46:42.166)Well, and you go, I think, to the International Downtown Association, right? The IDA. How is it that the IDA and CNU are still, like, not connected at all? As far as I could tell, right? From the outside, it just, like, the stuff we're doing is so, so connected, right? And so this, I guess, is a plea to the CNU folks and a plea to the IDA folks, like, let's get together, guys. Because, like, CNU can bring a whole bunch of the design and policy ideas. But you're right, we need managers. And manager, Strong Town sometimes talks about howKevin (46:45.173)Mm -hmm. Yeah.Kevin (46:55.925)This is a good question.Seth Zeren (47:11.132)maintenance is not sexy, right? It's easier to get people to design a new road than just fix the damn road you got. But that's the problem, right? If nobody's interested and we have no way of making management or administration better, like you'll just keep doing new projects and then as soon as you leave, they'll just fall apart, right? Because no one's going to run them when you go.Kevin (47:32.981)Yeah, no doubt. And so hopefully we can make that happen. I would have talked with a few people about this that we need to find a way to link up. I mean, there's always been a linkage there, but it's just not nearly as tight and as strong as I think it could be. I'm amazed when I go to the IDA conference just how few new urbanist consultants even bother to attend, which is shocking to me. It's enormous. But yes, I think there's an in...Seth Zeren (47:53.558)Yeah, it seems like a huge missed opportunity on both sides.Kevin (48:02.965)One of the, I think, ill effects of the last 30 or 40 years of there's been a lot of education that's pushed really smart, ambitious young people into the policy world instead of emphasizing that how important really good management is. First of all, I would say design also. I mean, and problem solving with projects generally is incredibly important.My bias is doing projects is more important than policy, but I know there's a role for both. But management, God, if you don't have good ongoing management of a place, just like any business, if a business doesn't have good ongoing management, forget it, you're toast. And a city, if it doesn't have it, is gonna suffer tremendously. So, you one, go ahead, go ahead.Seth Zeren (48:54.038)Well, I was gonna say, I feel like in my head, I've been thinking about this for a long time. And when I went to school, I went into an environmental management program, quote unquote management, right? It was supposed to train professional people to manage environmental organizations, work in government, work at the forest service, work for nonprofits, working for profits, doing environmental stuff. Were there any classes on management stuff, right? Managing people, managing budgets.Communications, no, it was all science, which is great, fine, like I need to know some stuff about ecology or water management or whatever, but like, how are we a professional school? You know, we have to go out in the world and run organizations which have budgets and staff and HR and communications and negotiation. You know, you can go to the business school and learn some of that and a lot of people did, but you gotta ask yourself like, well, what are we doing here?Kevin (49:44.405)Yeah. Well, man, I had six years of architecture school and there wasn't one business course that was required the whole time.Seth Zeren (49:49.718)Yeah, I mean, I see that. And the planning people, you know, maybe it's gotten better. But when I was going through it, I took a negotiations class at the business school, which was the most useful class for being a planner. It was negotiations. Most planners, we don't need people with physical planning backgrounds. I mean, you need someone who can do some physical planning. Mostly you need some social workers because local government is like a family therapy. They have fights going back 20 years with their neighbor about whatever and who's yelling at who. And it's like, we need just some people to get people to talk to each other.It's not about technical analysis. No one ever voted for my zoning amendment because I had a great analysis. No, it's relationships. So, you know, I look at this as like, and I know there's been efforts around this at CNU, but I think we need to really get serious about building new educational institutions. I don't know that we can do it inside. I mean, we've tried it, you know, at Miami, we've tried it at Notre Dame, and there's been some successes, but it's just not enough, right? 30 years later, you know, there's just...it hasn't really changed anything in terms of what we're training. So we have another whole generation raised up in the old way of doing business and we're surprised when we get the same results.Kevin (50:55.829)Well, one of the things that even mystifies me, somebody who's gone to a lot of architecture schools to do student crits and everything else is like there's this, there's a whole group that have come through in the last, I would say 15 years that don't even know anything now about the early new urbanism because that was like so long ago and it's just not taught. So it's wild to me. It's like that has gone down the memory hole.Seth Zeren (51:14.038)Yeah.Seth Zeren (51:19.35)Yeah.Kevin (51:21.077)So I talk about that a lot with people that I know just to try to keep some of those things going and make sure people have a memory of what actually happened in a lot of those years.Seth Zeren (51:29.91)What I think is so striking is I don't think it's actually that much money that would be needed to build some of these institutions. So if anyone out there is listening and wants to write checks, fantastic. But you could get a lot done for not a lot of money building these new institutions. I really do think that. And the scale of impact on society could be really huge. Yeah.Kevin (51:51.893)Yeah. Seth, I want to switch gears and do one more topic before we run out of time. I want to hit on this piece that you wrote about Yenbys and New Urbanists in Strong Towns and sort of the differences or perceived differences, you know, amongst the groups. I wonder if you could sort of set the table and talk a little bit about what, where you were going with that one. It's a long piece for anybody who wants to read it, but it's, it's really good.Seth Zeren (51:55.862)Oh, sure.Seth Zeren (52:02.538)Yeah.Seth Zeren (52:14.326)Yeah, it's on my my sub stack build the next right thing which is I have small children So we watch a lot of Disney movies. That's do the next right thing, which is a song from frozen 2 But related to incrementalism, right? You don't have to know the final answer You just when you and you're confused you just do the next right thing, you know, you're gonna work your way through it solve the problem incrementally Pragmatically, it's very American way to work. It's good. That's build the next right thing andKevin (52:27.533)Know it well.Seth Zeren (52:45.27)It's a part because like getting to utopia is not like you're not going to take one jump to utopia. We got to like work in the world we're in. So this piece came out actually, ironically, I started writing this in the emergency room with my child in the middle of the night. Because when you have little children, sometimes they eat like stuff and you end up in the emergency room in the middle of the night. So I'm like, I'm like starting to jot down some notes and the notes were really stimulated by another guy, Steve Mouzon, who's been on your show, I think, who, you know, is active on Twitter and occasionally.regularly gets in fights with sort of the very online Yimby crowd. And then there was an exchange, you know, about a piece that Steve wrote and some other people responded. And, you know, a lot of people that I'm considered I like or I appreciate their work. I mean, I appreciate Steve's work. I assign his book on on on the original green. I appreciate Nolan Gray's work. I assign his his stuff. So but I was really struck by this continuing like fight.In this case, between the CNU and the Yenbis. And in my analysis, I mean, you can go read the piece, but I'll give you the really short version. It's basically that, and since I'm from California, I'm very sympathetic to the Yenbi argument, right? I feel it in my bones, right? I can never return to the soil I was raised on because of the failure that has gone before us. So in the Yenbi world, it's all about supply. We got to build a bunch of homes, right? And that's the overriding value and virtue and goal.right? You see it celebrate. We're going to build so many more homes. And the new urbanist orientation, which is really importantly different for a few reasons. First of all, it was started in the eighties and nineties when there wasn't a housing crisis. So the DNA is not built around a housing crisis was built around building crappy places, right? Go read, you know, uh, suburban nation, right? It's about building bad stuff. Read consular, you know, that's, that's the DNA. It's also mostly working in the South, you know, in the Midwest to a certain extent whereThere hasn't been a supply crunch, you know, because they're building stuff, right? It's building sprawl. We can build better sprawl, worse sprawl, but it's still just getting built. And so, you know, a lot of that is about quality. How do we build good places? And so what's so frustrating about, I think, to both sides about the EMBC and U debate is that often we agree. Often building density and building quality are the same. So we're on the same team, but sometimes they're not. And the worst...Seth Zeren (55:12.502)fight is with your ally who betrays you, right? Your enemies, yeah, f**k that guy, he's terrible, right? You know, that's easy, but my friend, I thought you were with me, but now we're not, ah. And so that's what keeps happening, right? The CNU folks are like, you know, that might be a little bit too much density, aren't you worried about the blank walls? Aren't you worried about X, Y, and Z? And then, and the, and the, the Yenbis are like, are you kidding, man? Like we're all homeless, like, unless we build this building, we don't have time for your cute little nonsense. You know, your ADU is just too slow, whatever.Kevin (55:15.477)YouSeth Zeren (55:41.878)And so that's, that's on sort of goals and the people are different, right? The CNU architects first developers planners, the Yimby movement really comes out of activists, uh, political advocates, regular people, software engineers who are not professional built environment people, uh, lawyers, right? It's a policy oriented movement, economists, right? That's the core. That's their intellectual DNA is.know, economists at George Mason, whereas the CNU, it's, it's an, a few architects at Miami. That's really different DNA, right? And I think the CNU has, for whatever reason, not really, it's done some behind the scenes politics, you know, policy change, right? There's been really important behind the scenes policy change, very not visible to normal people. It's never been interested in mass mobilization, you know, votes.persuading elected officials, it's not their jam. The Yenby movement is a political advocacy movement, right? So they're trying to like win votes and get lost. So the Yenby folks have gotten more bills passed that does a bunch of CNU ideas, right? The missing middle, ADUs, all the stuff that CNU came up with like 20, 30 years ago is being mandated by bills passed by Yenby. So they're like, CNU guys, we're doing the thing. Why are you yelling at us? Right? But the Yenbys don't always appreciate that the CNU has,rebuilt so much of the DNA of 20th century planning. So like, complete streets was like a CNU invention. People don't realize that anymore because it's now so mainstream. And so there's this sort of tension where people don't see the benefits the others have provided because they're kind of operating in different styles. So that's, I think, the sort of core tension. And then I added the strong towns because strong towns sometimes finds itself fighting with both of them.And often aligned, right? Often we're all the same team, right? I consider myself a Yimby. I run a Yimby organization. I also am a Strong Towns founding member and I've been at CNU a lot. But they're subtly different, right? The Strong Towns thing that puts them at odds with some of these groups is that Strong Towns core idea is that we need to reengage bottom -up feedback, right? That the system is too top -down, too...Seth Zeren (58:06.454)tightly wound, too fixed, too set. So we build these places that are built to a finished state. We can't ever change them. We have tables that are not responsive to content. So we're just locked up. We can't get anything done. And the Strong Town's idea is, well, we need the systems to be responsive, right? If housing prices go up, we should build. If they don't go up, we shouldn't build. We need to make the streets context sensitive. And so on the one hand, we're all for getting rid of parking requirements and upzoning stuff. So the inbys are like, great.But then sometimes we're like, well, that might be too much of zoning. Here's some reasons why. And the Yenbis are like, wait, I thought you were pro density. I thought you were pro development. We're like, yes, but right. Uh, the strong towns, people would worry that the Yenbis in 1950 would have been the suburban sprawl advocates, right? They would have said, we need the houses now. Damn the consequences. We're not going to worry about fiscal insolvency in 50 years. We're just going to build the houses now. You know, that's, so that's the strong towns. Sort tension with the Yenby movement is the top down, the sort of.And this is a result of your movement being led by political advocates and attorneys and economists, right? There's the concern about that kind of top -down policy orientation, these sort of single metrics, let's get it done. And then I think sometimes there's also debate with the CNU around things trying to be too precious. Ther

The Spadina Expressway was one of five urban highways that were nearly built in Toronto in the 70s. The plan would have bulldozed neighbourhoods so that suburban commuters had a direct route to drive downtown. But campaigners like Bobbi Speck and Jane Jacobs stopped it, saving iconic neighbourhoods like The Annex. Today, Toronto is one of the worst cities in the world for traffic. Should the expressway have been built anyway? We tell the story of the grassroots movement to stop Spadina with the people who were there firsthand. Does the movement perhaps offer tips on how to solve Toronto's notoriously bad traffic?

In this episode of The Unfinished Print, I speak with Henry Smith, Professor Emeritus in the Dept. of East Asian Languages & Cultures at Columbia University.  Together we delve into the scientific aspects of Meiji woodblock prints, exploring the trajectory of Nishiki-e during the late Edo and Meiji eras. Additionally, we examine the significance of cochineal and naphthol dyes, and scrutinize particle sizes. Henry's scholarly contributions include groundbreaking articles on subjects such as Hokusai and the Blue Revolution, with the introduction of Prussian Blue to the Japanese woodblock aesthetic during the mid to late Edo Period.  Join me in discovering how Henry's passion drew him into the enchanting world of Meiji woodblock prints, as we navigate the influence of Western collectors in Meiji Japan, exemplified by figures like English s urgeon William Anderson. Henry helps me in understanding the rich palette and the science behind Meiji prints, shaped by the infusion of imported dyes and pigments. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Publishers are given if known. The funeral procession of Meiji Emperor at Nijubashi designed by Yasuda Hanpo (1889-1947) Columbia Academic Commons  Professor Henry Smith's article on the Japanese Student movement, here. Peter Gluck - is an American architect who has won multiple awards and has designed buildings all over the world. He is the principal of GLUCK+, an architecture firm based in New York City.  Professor Carol Gluck - is a Special Research Scholar and George Sansom Professor Emerita of History, Department of History at Columbia University. She has written multiple books and articles on Japanese history.  Jane Jacobs (1916-2006) - an American-Canadian journalist, activist who had written extensively on the life and death of North American cities such as New York City, and Toronto. Her book The Death And Life Of Great American Cities, is considered a classic in urban planning for the modern city and its subsequent decline.  Robert Venturi (1925-2018) -  was an American architect and theorist known for his contributions to postmodern architecture. He, along with his partner and wife Denise Scott Brown, played a key role in shaping architectural discourse in the late 20th century. Venturi challenged the modernist principles that dominated architecture at the time, advocating for a more inclusive and eclectic approach. His book, Complexity and Contradiction in Architecture (1966) was where he critiqued the rigidity of modernist architecture and championed a more diverse and contextual approach to architecture.  Metabolism (Japan) - The Metabolism movement was characterized by a group of young Japanese architects and designers who sought to address the challenges of rapid urbanization and rebuilding after World War II. Key principles and concepts of Metabolism in Japanese architecture are megastructures, prefabrication and modularity, biology and organic growth, and technological innovation. One special notable example of Metabolist architecture was the now demolished Kisho Kurokawa's Nakagin Capsule Tower in Tōkyō. Shinjuku: The Phenomenal City - was the exhibition Henry Smith discussed in this episode. It was exhibited December 16, 1975 to March 7, 1976 at the Museum of Modern Art, New York City. More info, here. a+u magazine - also known as architecture and urbanism magazine, is a Japanese/English architecture magazine first published in 1971. More info, here.  Kōji Taki (1928-2011) - was a Japanese author, architectural critic, editor, and key figure in the Metabolist movement. He played a significant role in shaping the discourse of contemporary architecture in Japan and was instrumental in promoting the ideas of the Metabolists. Kappabashi - located in Tōkyō's Asakusa district, is a renowned destination for kitchenware and restaurant supplies. The street is lined with stores offering a diverse range of products, including traditional Japanese knives, sushi-making equipment, and unique culinary gadgets. Kappabashi is especially popular for its sampuru shops, where visitors can buy realistic food replicas commonly displayed outside restaurants. The area features a mix of large retailers and specialty stores, creating a charming atmosphere with its traditional Japanese architecture. It's easily accessible from Tawaramachi Station on the Tokyo Metro Ginza Line. fūkei hanga - are landscape images. These paintings and prints represent the natural world such as mountains, rivers, waterfalls. You can find these types of prints from the golden age of nishiki-e to shin-hanga, to today.  Sunset at Tomonotsu (1940, 9"x14") by Tsuchiya Koitsu (1879-1942) and published by Watanabe.  Mitaka - is a city located in the western part of Tōkyō, Japan. A very pretty and quiet part of the city it is famous for the Ghibli Museum, and Inokashira Park. 100 Views of Edo (名所江戸百景) - is a series of nishiki-e prints designed by Utagawa Hiroshige (1797-1858). It was published between 1856 and 1859 and consists of 118 or 119 prints, each depicting various scenes of Edo (Tōkyō). The prints show the beauty, diversity, and everyday life of Edo, capturing different seasons, landscapes, landmarks, and activities. Hiroshige's use of color, composition, and atmospheric effects contributes to the series' enduring popularity. The scenes range from bustling urban areas and landscapes to rural views, often incorporating elements of nature and traditional Japanese culture. Suruga-chō (1885) Thirty Six Views of Mount Fuji - one of Hokusai's most iconic series, known for its various depictions of Mount Fuji in different seasons, weather conditions, and different vantage points. The series includes "The Great Wave off Kanagawa." Published between 1830-1832 the series portrays Mount Fuji in different perspectives, everyday life, as well as the special importance of Mount Fuji in Edo culture. The series had a large impact on Western artists and thinkers, including the Impressionists and Post-Impressionists. Umezawa Hamlet-fields in Sagami Province (1830-31) Santa Barbara Museum of Art - is an art museum located in Santa Barbara, California, USA. Its collection contains art works from all over the world, focusing on paintings, sculpture, and paper works. More info, here.  Kobayashi Kiyochika (1847-1915) - was a painter and woodblock print designer famous for his war prints on the First Sino-Japanese War (July 25, 1894- April 17, 1895). Kiyochika captured the transitional period in Japanese history as the country underwent rapid modernization and Westernization during the late 19th and early 20th centuries. Onoguchi Tokuji Destroying The Gate at Jinzhoucheng (1895 14 3/4" x 28 9/16") published by Daikokuya. Utagawa School - was a school of print designers starting with Utagawa Toyoharu (1735-1814). He employed one point perspective (vanishing point) in his print designs, being influenced by Western perspective. The influence of the Utagawa school goes far in Japanese print history and one of its most successful. This schools print designs of kabuki portraits, beautiful women (bijin-ga), and landscapes are excellent. Some famous names attributed to the Utagawa school are Utamaro (1753-1806), Utagawa Kunisada (1786-1865), and Ando Hiroshige (1797-1858). A fine description of this school can be found, here at Artelino.  Newly Published Picture of the Battle of Jiuzan-shan in China (9 3/16" x 13 1/8") attributed to Utagawa Toyoharu Okumura Masanobu (1686-1784) - was a Japanese nishiki-e artist and print designer who lived during the Edo period. He is credited with pioneering the use of full-color printing and is considered one of the early masters of the art form. Okumura Masanobu was known for his contributions to bijin-ga and yakusha-e (actor prints). He played a role in the development of nishiki-e as a popular art form. More information can be found at Viewing Japanese Prints, here.  Large Perspective Picture of Evening Cool by Ryōgoku Bridge (ca. 1748) hand coloured Sumida River - is a major river that flows through Tōkyō, Japan. It plays a significant role in the history, culture, and landscape of the city. The Sumida River flows for approximately 27 kilometers (about 17 miles) through Tokyo, originating from Kita City and flowing into Tōkyō Bay. It passes through several wards, including Kita, Adachi, Sumida, Taito, Koto, and Chuo. The river has been portrayed in nishiki-e prints for generations, along with its bridges.  Kobayashi Kiyochika the Sumida River at Night (9.76"x14" - est. 1881) Utagawa Kuniyoshi (1798-1861) - is considered one of the last “masters” of the ukiyo-e genre of Japanese woodblock printmaking. His designs range from landscapes, samurai and Chinese military heroes, as well as using various formats for his designs such as diptychs and triptychs. Yamayoshi Genba no jō Chikafusa (14 5/16" x 9 15/16" - 1848/49) published by Sumiyoshiya Ike no Taiga (1723-1776) - was a Japanese painter of the mid-Edo period, known for his skill in the Nanga style, which was influenced by Chinese literati painting. He is best remembered for his role in promoting a cross-cultural exchange of ideas between Japan and China in the realm of art and aesthetics during the Edo Period. Landscape with Pavilion (1750) Akita ranga painting - a style of Japanese painting that emerged in the late Edo period, particularly during the 19th century, in the region of Akita in northern Japan. The term "ranga" literally translates to "Dutch painting" and reflects the influence of European painting styles, particularly Dutch and Western techniques, which were introduced to Japan through trade with the Dutch during the Edo Period. More info, here.  Satake Shozan (1748-1785) - Pine Tree and Parakeet (68.11" x 22.83") est 1700's, painting. Shinobazu Pond - is a large pond located within Ueno Park in Tōkyō, Japan. Ueno Park is a spacious public park that is home to several museums, a zoo, temples, and beautiful green spaces. Shinobazu Pond is one of the central features of Ueno Park, and it is renowned for its scenic beauty and historical significance. hanmoto system - is the Edo Period (1603-1868) collaboration system of making woodblock prints in Japan. The system was about using, carvers, printers, and craftsmen by various print publishers in order to produce woodblock prints. The system consisted of the following professions; publisher, artist, carver, and printer. William Anderson (1842–1900) was an English surgeon and collector with a significant impact on the appreciation and understanding of Japanese art in the late 19th century. Anderson became a passionate collector of Japanese art, amassing a vast and diverse collection that included nishiki-e, ceramics, textiles, and other traditional artworks. His collection grew to be one of the most significant and comprehensive of its time. His bequest laid the foundation for the development of Japanese art studies in the West, influencing subsequent generations of scholars, collectors, and enthusiasts. ezōshiya - is a type of Japanese bookstore that specializes in selling "ehon" or picture books. Ehon are valued not only for their storytelling but also for the quality of illustrations. These books played a role in promoting visual literacy and appreciation of art in Japan. Nishiki-e had been sold at these book stores during the Edo Period.  Utagawa Kunisada (1786-1865) is widely regarded as one of the most significant woodblock print designers in Japanese history. His diverse portfolio includes prints ranging from landscapes and books to erotica and sumo. Kunisada worked during the vibrant era of nishiki-e alongside notable artists such as Andō Hiroshige (1797-1858), Katsushika Hokusai (1760-1849), and the aforementioned Kuniyoshi. This period represents a rich and abundant chapter in Japanese woodblock print history. Ichikawa Danjurō VIII as Hanzaemon published by Tamaya Sōsuke (1852) 13 9/16" x 9 3/16" cochineal - known as yōko in Japanese, is a red dye taken from the dried bodies of female cochineal insects. These insects are native to Central and South America, where they feed on the sap of prickly pear cacti. Cochineal has been used for centuries as a natural dye, valued for its vibrant red color. An article about synthetic pigments and cochineal in Japanese woodblock prints and co-written by Henry Smith can be found, here.  William Sturgis Bigelow (1850-1926) - was an avid collector of Japanese art. His extensive travels to Japan from 1882 to 1889, coupled with a close friendship with Ernest Fenollosa, enabled him to amass a remarkable collection. Bigelow's acquisitions played a pivotal role in promoting Japanese art in the Western world. World Of The Meiji Print - is a book published by Weatherhill in 1991 and written by Julia Meech-Pekarik. It describes how nishiki-e developed and evolved during the Meiji period.  Roger Keyes (1942-2020) - was a distinguished scholar of Japanese woodblock prints. His expertise was showcased in his 1982 dissertation, a comprehensive study of Tsukioka Yoshitoshi (1839-1892). Additionally, Keyes authored the book 'Ehon: The Artists and the Book in Japan' in 2006, further solidifying his significant contributions to the understanding of Japanese printmaking. Amy Reigle Newland - is a Japanese print scholar who has written various articles and books upon the subject. One of my favourite books by Newland is her book about Toyohara Kunichika, Time Present and Past: Images of A Forgotten Master (1999).  Bruce Coats - is Professor of Art History and the Humanities at Scripps College, Claremont, California. He has contributed to several books on Japanese woodblock prints, one of my favourites is Chikanobu: Modernity and Nostalgia in Japanese Prints (2006).  James A Michener (1907-1997) - was a Pulitzer Prize-winning writer, scholar, and esteemed academic known for his extensive contributions to various literary genres. Beyond his celebrated literary achievements, Michener also delved into the world of Japanese prints, demonstrating a multifaceted curiosity and intellectual versatility. His exploration of Japanese prints added another layer to his diverse body of work, reflecting a deep appreciation for Japanese art and culture. Honolulu Academy of Arts - founded in 1922 by Anna Rice Cooke, evolved into the Honolulu Museum of Art (HoMA) in 2012. Rice-Cooke's vision for a multicultural art space led to its creation, with an endowment and land donated by the Cooke family. The museum's architectural style blends Hawaiian, Chinese, and Spanish influences. Over the years, HoMA expanded, adding educational wings, a cafe, and more, while its permanent collection grew to over 50,000 pieces. In 2011, The Contemporary Museum merged with HoMA, unifying as the Honolulu Museum of Art. More info, here.  shinbun nishiki-e - the Meiji Restoration of 1868 marked a pivotal moment in Japan's history, prompting significant societal upheavals. Tōkyō, formerly Edo, became the new centre of Imperial Japan, and by 1871, the traditional feudal class system had been abolished, accompanied by compulsory education laws. This era of profound change spurred creative responses to economic challenges. Starting in the summer of 1874, innovative individuals introduced shimbun nishikie, vibrant single-sheet woodblock prints that served as colorful souvenirs. These prints, produced until 1876, were not just visually striking but also narratively engaging, recounting news articles in a format ideal for oral storytelling. Renowned artists like Ochiai Yoshiiku and Tsukioka Yoshitoshi, both students of the celebrated Utagawa Kuniyoshi, played a key role in illustrating these captivating snapshots of an evolving Japan. An excellent article on shinbun nishiki-e can be found here, from All About Japan.  Fighting Off A Wolf by Sadanobu II (1848-1940) from the Nichinichi Shinbun (9 1/2" x 6 3/4")  Satsuma Rebellion -  occurring in 1877, was a last stand against the modernization policies of the Meiji government by disaffected samurai from the Satsuma domain. Led by Saigō Takamori (1828-1877), a key figure in the Meiji Restoration. The rebellion sought to restore imperial power and resist the centralization efforts of the government. The conflict ended in a decisive government victory at the Battle of Shiroyama, where Saigō met his end, marking one of the final samurai-led uprisings in Japan's history. Suzuki Harunobu (1725-1770) -pioneered the art of nishiki-e, becoming the first to craft multi-color woodblock prints. Renowned for his exquisite designs, Harunobu's subjects often revolved around the portrayal of beautiful women, shunga (erotic art), and classical poetry. His innovative techniques and thematic choices significantly influenced the genre during the Edo period in Japan. Lovers Walking In The Snow (1764-1772) (11 1/4"x8 1/8") Emperor Meiji born Mutsuhito (1852 – 1912), was the 122nd Emperor of Japan, reigning from 1867 until his death in 1912. His reign, known as the Meiji Era, marked a transformative period in Japanese history. The Meiji Restoration of 1868 saw the end of the Tokugawa shogunate and the restoration of imperial rule, with Emperor Meiji playing a central role in Japan's modernization and westernization efforts. During his era, Japan underwent significant political, social, and economic reforms, propelling the country into the ranks of major world powers. Emperor Meiji's reign is often associated with Japan's rapid modernization and emergence onto the global stage. sōsaku-hanga -  also known as creative prints, is a printmaking style primarily, though not exclusively, characterized by prints created by a single artist. Originating in early twentieth-century Japan, alongside the shin-hanga movement, this style emphasizes the artist's direct involvement in the entire printmaking process — from design and carving to printing. While the designs, especially in the early stages, may appear rudimentary, the concept of artists producing their own prints marked a significant departure from the traditional model where a select group of carvers, printers, and publishers collaborated in the creation of woodblock prints. shin hanga - is a style of Japanese woodblock printmaking that emerged in the early 20th century, marking the end of the nishiki-e period. Originating around 1915 under the direction of Watanabe Shōzaburō (1885-1962), the art form responded to the foreign demand for "traditional" Japanese imagery. Shin hanga artists focused on motifs like castles, bridges, famous landscapes, and bamboo forests. The style was initiated when Watanabe discovered Austrian artist Fritz Capelari (1884-1950) and commissioned him to design prints for Watanabe's budding printing house. This collaboration led to the evolution of shin hanga into a distinctive new style of Japanese woodblock printing. The shin hanga movement thrived until its inevitable decline after the Second World War (1939-1945). fan print (uchiwa-e) - are crafted in the form of flat, oval fans using materials such as rice paper or silk. These prints are designed to be functional fans, allowing for practical use while showcasing artistic designs. Amy Poster - is the curator emerita of Asian Art at the Brooklyn Museum. aizuri-e - are woodblock prints made entirely with shades of blue. This style gained popularity during the Edo Period.  Keisai Eisen (1790-1848) - was a nishiki-e print designer and author during the Edo Period. His print designs are famous for beautiful women and large head prints (ōkubi-e).   surimono (date unknown - Edo Period) Hiraga Gennai (1729-1779/80) - was a versatile Japanese polymath and rōnin during the Edo period. His diverse talents spanned pharmacology, rangaku (Dutch learning), medicine, literature, painting, and invention. Notable creations include the erekiteru (electrostatic generator), kankanpu (asbestos cloth). Gennai authored satirical works such as Fūryū Shidōken den (1763) and Nenashigusa (1763), along with essays like On Farting and A Lousy Journey of Love. He also wrote guidebooks on male prostitutes, including the Kiku no en (1764) and San no asa (1768). Employing various pen names like Kyūkei and Fūrai Sanjin, he is most recognized by the name Hiraga Gennai. Yokohama-e -refers to a genre of Japanese woodblock prints depicting scenes from Yokohama, a pivotal port city during the late Edo and Meiji periods. These prints showcase the influx of international influences, featuring foreign ships, traders, and cultural exchanges. Yokohama-e captures the dynamic transformation of Japan as it opened to the world, portraying a vivid visual narrative of the city's bustling trade and encounters between Japanese and Western cultures. View of Foreigners' Houses on the Beach Street Seen From Yokohama Port (ca. 1873) by Hiroshige III (1842-1894) Sadahide Utagawa (1807-1878/79) - was a designer of nishiki-e during the late Edo and early Meiji Periods. He trained under Utagawa Kunisada and depicted medieval Japanese scenes, collaborating on the 53 Stations of the Tōkaidō, and prints related to Yokohama-e.   Battle of Ōei (ca.1848) Sir William Henry Perkin (1838–1907) was a British chemist who is renowned for his accidental discovery of the first synthetic dye, known as mauveine or mauve. This significant breakthrough occurred in 1856 when Perkin was attempting to synthesize quinine, a treatment for malaria, from coal tar derivatives. Instead, he obtained a purple-colored substance while working with aniline, leading to the creation of the vibrant purple dye. napthols - are special dyes used in making colourful fabrics on handlooms. They get their name from a specific part in their makeup called an azo group. These dyes are known for making colors really bright and long-lasting on fabrics. They help create fabrics in lots of different colors, like orange, brown, yellow, scarlet, golden yellow, black, red, violet, and more.  orpiment -  sekiō in Japanese, is a bright yellow to orange-yellow mineral composed of arsenic trisulfide (As2S3). It has been historically used as a pigment in painting and for other decorative purposes due to its vibrant color. Often found in association with realgar, another arsenic sulfide mineral, orpiment has also been employed in traditional medicine and alchemy. However, its toxic nature limits such applications, and it's crucial to note that handling orpiment, especially in powdered form, poses health risks due to the presence of arsenic. Marco Leona PhD - is the David H. Koch Scientist at Large at the Metropolitan Museum of Art. He has written several articles on Spectroscopy and art.  Estée Lauder (1906-2004) - was a pioneering American businesswoman and the co-founder of the renowned cosmetics company Estée Lauder Companies. Alongside her husband Joseph Lauder, she established the company in 1946, starting with a few skincare products she developed herself. Estée Lauder's hands-on approach to marketing and emphasis on quality turned her brand into a symbol of luxury. Initially selling to friends, she built a global beauty empire with a diverse product line including skincare, makeup, and fragrances. Today, the Estée Lauder Companies remain influential in the beauty industry, with a portfolio of well-known brands. Estée Lauder's legacy is marked by her significant contributions to the cosmetics world and her establishment of an enduring and iconic beauty brand. The Adachi Institute of Woodblock Prints - is a print studio located in Tōkyō. Established in 1994 in order to promote and preserve the colour woodblock print of Japan. More information, in English and in Japanese.  The 47 Rōnin of Akō - were a group of samurai who sought revenge for the unjust death of their master, Lord Asano Naganori, in 1701. After Asano was forced to commit seppuku (a form of ritual suicide), his loyal retainers, the 47 Ronin, meticulously planned and executed the revenge, successfully avenging their lord's honor. The story is a celebrated example of bushido (samurai code) and loyalty in Japanese history and folklore. smalt - is a deep blue pigment that has been historically used in art and ceramics. It is composed of finely powdered glass, often colored with cobalt oxide to achieve its distinctive blue hue. Smalt was popular during the Renaissance and Baroque periods as a substitute for expensive blue pigments like lapis lazuli. Artists would mix smalt with binders to create blue paint for their artworks. Smalt has some drawbacks, including a tendency to fade over time and a vulnerability to darkening when exposed to certain environmental conditions. Keiji Shinohara - is a Japanese mokuhanga printmaker who apprenticed under Uesugi Keiichiro in Ōsaka. He is the artist-in-residence at Wesleyan University in Connecticut. More info about Keiji can be found here, and here. Yamado-ike from the series Eight Views of Hirakata (2006) 11"x15": gum arabic - is a sap from two types of Acacia tree. In art it is used as a binder for pigments which creates viscosity (depending on how much or little is applied to your pigments) for your watercolours and oils. Rachel Levitas has a fine description on how she uses gum arabic in her work, here.  Bakumatsu Period -  refers to the final years of the Edo period, specifically from the mid-19th century to the early 1860s. The term "Bakumatsu" can be translated as "end of the shogunate." This era was characterized by significant political, social, and economic changes that eventually led to the overthrow of the Tokugawa shogunate and the restoration of imperial rule in the Meiji period. Bunsei Period - was a period in Japanese history which lasted from April 1818 - December 1830 CE © Popular Wheat Productions opening and closing musical credit - The Shadow of Your Smile by Dominic Farinacci, G@ Records (2023)  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                                          

In this episode, I look at the connections between ecosystems and economies, as described by Jane Jacobs in The Nature of Economies.

Chapter 1 Interpret what The Death And Life Of Great American Cities is about"The Death and Life of Great American Cities" is a book written by Jane Jacobs, first published in 1961. In the book, Jacobs criticizes the urban planning theories and practices that were prevalent at the time and suggests alternative approaches. She argues against the prevailing idea that urban renewal and slum clearance were necessary for improving cities and instead advocates for preserving and revitalizing existing neighborhoods.Jacobs examines the social, economic, and cultural factors that contribute to vibrant and thriving cities. She emphasizes the importance of diverse and mixed-use neighborhoods, pedestrian-friendly streets, and a sense of community. She argues that a city is more than just its physical structures and that the complex interactions and activities of its residents are what truly make it great.The book has had a significant impact on urban planning and has become a classic in the field. It challenged prevailing assumptions about city planning and advocated for a more organic and community-driven approach to urban development. Jacobs' ideas continue to be influential today in shaping discussions and practices around urban design and revitalization.Chapter 2 Is The Death And Life Of Great American Cities A Good BookYes, "The Death and Life of Great American Cities" by Jane Jacobs is widely considered to be a classic and influential book in urban planning and sociology. It offers insightful and original ideas about city dynamics, emphasizing the importance of a diverse and active street life, mixed-use development, and community engagement. Many urban planners, architects, and academics regard it as a must-read for anyone interested in understanding and improving cities.Chapter 3 Key Features of The Death And Life Of Great American Cities"The Death and Life of Great American Cities" is a seminal work written by urban activist and journalist Jane Jacobs. Published in 1961, it challenged conventional urban planning theories and presented a compelling critique of urban renewal projects and modernist urban design.Jacobs argues that successful cities are characterized by vibrant and diverse neighborhoods, filled with a mix of residential, commercial, and public spaces. She emphasizes the importance of street life and pedestrian activity in creating a sense of community and safety. In her view, urban planners often overlook the intricate social and economic dynamics of a city, leading to the destruction of local communities in the name of progress.One of the central arguments in the book is the importance of mixed-use development and dense city neighborhoods. Jacobs claims that a mix of old and new buildings, varied building heights, and a mix of businesses and residences creates a lively and dynamic urban environment. She criticizes modernist planning practices that separate residential areas from commercial and industrial zones, resulting in isolated and often deserted neighborhoods.Jacobs further analyzes the social and economic aspects of urban life, highlighting the importance of public spaces, such as parks and plazas, in fostering community interaction. She also puts forth the concept of "eyes on the street," emphasizing the importance of active and engaged citizens in maintaining a safe and vibrant city.Throughout the book, Jacobs offers a series of case studies and observations from various American cities and neighborhoods, providing examples of successful and unsuccessful urban planning practices. She also critiques the prevailing theories of

Close your eyes and imagine exiting your front door. Within moments, everything necessary for your life is a few blocks away, except perhaps your job. Groceries, coffee, toiletries, your bank—if you're still a physical bank-type person—auto shop, all within walking distance. You never have to commute too far to live your life. Sounds like quite a dystopian hellscape, doesn't it?  Believe it or not, that's yet another conspiracy theory that emerged earlier this year, because the ability to access things you need is apparently a Deep State plot. Derek is joined by “The War on Cars” co-host, Doug Gordon, to discuss how this conspiracy started and why smart urban planning is a boon for society. First, we discuss Jane Jacobs, the Scranton, Pennsylvania-born journalist and theorist who brought her civic activism to Toronto in 1968, with Matthew coloring in how her legacy has fared during the rise of the Ford family. Corrections: In his unbridled enthusiasm for the topic and the memories it churned up, Matthew messed up THREE things—the Escalade is a Cadillac, not a Ford, “Downtown” was sung by Petula Clark, not Peggy Lee, and Bill Davis was a Progressive Conservative Premier, not a Liberal! Apologies. Show Notes The Woman Who Saved New York City from Superhighway Hell | Vanity Fair  ‘The streets belong to the people': Why a premier killed the Spadina Expressway | TVO Today  ​Ford family is building a political dynasty  ​​Video shows Councillor Doug Ford handing out $20 bills at TCHC building  Where the Spadina Expressway Didn't Stop | The Local Learn more about your ad choices. Visit megaphone.fm/adchoices

Strong Towns founder and president, Charles Marohn, was invited to the Lit with Charles podcast to discuss Jane Jacobs' seminal work, The Death and Life of Great American Cities, and the impact it has had on urban planning and the building of cities. If you love Jane Jacobs or want to learn more about her views and how Strong Towns advocates are working to make them a reality, you will want to explore this conversation. We have provided a full transcript to go along with the audio version, which we share here with the permission of the Lit with Charles podcast.

Joseph sits down to talk with friend, former teammate, and civil-engineer-by-training, Alison De Lima Fernandez, to talk about community, zoning, suburbia, and the like.  Alison referenced Jane Jacobs, who advocated for such things as mixed-use development, bottom-up planning, and treating a city as an entire ecosystem. Joseph had never heard of Jane Jacobs, but her wikipedia is here, so now you don't have any excuse either: https://en.wikipedia.org/wiki/Jane_Jacobs

Henry Grabar is a writer for Slate, the online magazine, and he has written “Paved Paradise: How Parking Explains the World.” Now you probably are thinking, “I've never read a book about parking. A whole book? Come on.” Well, we thought the same thing but we were intrigued. So we read it and were engrossed. It is fascinating! It is funny! And it tells you so much about a subject on which we all have such strong opinions and about which we all suffer such frustrations. Just some facts he relates - major ones like “more square footage is devoted to parking each car (in America) than to housing each person” - and minor ones like Disney World has 45,000 parking spaces. 10 to 20 families lose their cars there every day.” Intrigued? Read on. The Walt Disney Company is the parent company of ABC News. Our bookstore this week is a grandaddy of second hand book stores - Second Story Books in the Washington, D.C. area. Books mentioned in the podcast: Paved Paradise: How Parking Explains the World by Henry Grabar Fear and Loathing at Rolling Stone: The Essential Writing of Hunter S. Thompson by Hunter S. Thompson Volumes 1-4 of the Gonzo Papers - Essays by Hunter S. Thompson The Death and Life of Great American Cities by Jane Jacobs The Economy of Cities by Jane Jacobs

In 1890 the Danish-American journalist Jacob Riis turned his eye-opening reporting and lecture series into a ground-breaking book called How The Other Half Lives, a best seller which awoke Americans to the plight of the poor and laid the groundwork for the Progressive Era.Riis exposed more than a humanitarian crisis. He laid bare the city's complacent Gilded Age divide in revolutionary ways, most notably with the use of a new tool -- documentary photography.For our 400th episode, following our tradition of exploring the legacies of urban planners in past centennial shows (#100 Robert Moses, #200 Jane Jacobs, #300 Andrew Haswell Green), we finally look at the life of the crusading police reporter and social reformer who forced upper and middle class New Yorker to examine the living conditions within the city's poorest neighborhoods.Riis was himself an immigrant who spent his first years in the United States drifting from place to place, living on the street, his only companion a faithful dog. Journalism quite literally saved Riis, providing him with both a stable living and a purpose, especially after he became a police reporter for the New York Tribune in 1877.But it was his fascination with visual media -- magic lantern shows and later flash photography -- which set him apart from other crusading writers of the period like Nellie Bly (who we only wish had a camera with her!)Jacob Riis' culminating work How The Other Half Lives made him one of America's most famous writers -- his friend Theodore Roosevelt called Riss "the model American citizen" -- but the book has an imperfect legacy today, with Riis' broad characterizations of the people he was writing about undercutting the book's noble purposes.PLUS: The legacy of Riis lives in a very popular Queens beach. And Robert Moses chimes in!Visit the website for more informationFURTHER READINGThe Battle with the Slum / Jacob RiisThe Children of the Poor / Jacob RiisHow The Other Half Lives / Jacob RiisThe Making Of An American / Jacob RiisThe Other Half: The Life of Jacob Riis and the World of Immigrant America / Tom Buk-SwientyJacob A. Riis and the American City / James B. LaneJacob Riis: Reporter and Reformer / Janet B. PascalRediscovering Jacob Riis: Exposure Journalism and Photography in Turn-of-the-Century New York / Bonnie Yochelson and Daniel CzitromAfter listening to this show, check out these past Bowery Boys episodes with similar themes:-- The First Ambulance-- Has Jack the Ripper Come to Town?-- Case Files of the New York Police Department 1800-1915-- Women of the Progressive EraStories from this website:"The original IMAX: Jacob Riis and His Magic Lantern""The harsh lives of New York City street kids, captured — in a flash — by Jacob Riis""Jacob Riis' Not-so-Rockin' ‘Sane' New Years Celebration""The legendary police headquarters at 300 Mulberry Street""Finding Pietro"