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Scale in cities is relative and absolute. It has the ability to make us feel at home in the world or alien from it; connected or disconnected. Both large and small scale in cities can be beautiful; both are right, neither is wrong. Whilst accepting that prescription is no answer, 'getting the scale right' – at an intuitive and sensual level – is a fundamental part of the magic of architecture and urban design. Touching the City explores how scale is manifested in cities, exploring scale in buildings, in the space between them and in their details. It asks how scale makes a difference. Travelling from Detroit to Chandigarh, via New York, London, Paris, Rome and Doha, Tim Makower explores cities with the analytical eye of a designer and with the experiential eye of the urban dweller. Looking at historic cities, he asks what is good about them: what can we learn from the old to inform the new? The book zooms in from the macro scale of surfing Google Earth to micro moments such as finding fossils in a weathered wall. It examines the dynamics and movement patterns of cities, the making of streets and skylines, the formation of thresholds and facades, and it also touches on the process of design and the importance of drawing. As the book's title, Touching the City, suggests, it also emphasises the tactile – that the city is indeed something physical, something we can touch and be touched by, alive and ever changing.
The classic work on the evaluation of city form. What does the city's form actually mean to the people who live there? What can the city planner do to make the city's image more vivid and memorable to the city dweller? To answer these questions, Mr. Lynch, supported by studies of Los Angeles, Boston, and Jersey City, formulates a new criterion—imageability—and shows its potential value as a guide for the building and rebuilding of cities. The wide scope of this study leads to an original and vital method for the evaluation of city form. The architect, the planner, and certainly the city dweller will all want to read this book.
An investigation into gentrification and displacement, focusing on the case of Portland, Oregon's systematic dispersal of black residents from its Albina neighborhood. Portland, Oregon, is one of the most beautiful, livable cities in the United States. It has walkable neighborhoods, bike lanes, low-density housing, public transportation, and significant green space—not to mention craft-beer bars and locavore food trucks. But liberal Portland is also the whitest city in the country. This is not circumstance; the city has a long history of officially sanctioned racialized displacement that continues today. Over the last two and half decades, Albina—the one major Black neighborhood in Portland—has been systematically uprooted by market-driven gentrification and city-renewal policies. African Americans in Portland were first pushed into Albina and then contained there through exclusionary zoning, predatory lending, and racist real estate practices. Since the 1990s, they've been aggressively displaced—by rising housing costs, developers eager to get rid of low-income residents, and overt city policies of gentrification. Displacement and dispossessions are convulsing cities across the globe, becoming the dominant urban narratives of our time. In What a City Is For, Matt Hern uses the case of Albina, as well as similar instances in New Orleans and Vancouver, to investigate gentrification in the twenty-first century. In an engaging narrative, effortlessly mixing anecdote and theory, Hern questions the notions of development, private property, and ownership. Arguing that home ownership drives inequality, he wants us to disown ownership. How can we reimagine the city as a post-ownership, post-sovereign space? Drawing on solidarity economics, cooperative movements, community land trusts, indigenous conceptions of alternative sovereignty, the global commons movement, and much else, Hern suggests repudiating development in favor of an incrementalist, non-market-driven unfolding of the city.
Aldo Rossi was a practicing architect and leader of the Italian architectural movement La Tendenza and one of the most influential theorists of the twentieth century. The Architecture of the City is his major work of architectural and urban theory. In part a protest against functionalism and the Modern Movement, in part an attempt to restore the craft of architecture to its position as the only valid object of architectural study, and in part an analysis of the rules and forms of the city's construction, the book has become immensely popular among architects and design students.
Named by Newsweek magazine to its list of "Fifty Books for Our Time." For sixteen years William Whyte walked the streets of New York and other major cities. With a group of young observers, camera and notebook in hand, he conducted pioneering studies of street life, pedestrian behavior, and city dynamics. City: Rediscovering the Center is the result of that research, a humane, often amusing view of what is staggeringly obvious about the urban environment but seemingly invisible to those responsible for planning it. Whyte uses time-lapse photography to chart the anatomy of metropolitan congestion. Why is traffic so badly distributed on city streets? Why do New Yorkers walk so fast—and jaywalk so incorrigibly? Why aren't there more collisions on the busiest walkways? Why do people who stop to talk gravitate to the center of the pedestrian traffic stream? Why do places designed primarily for security actually worsen it? Why are public restrooms disappearing? "The city is full of vexations," Whyte avers: "Steps too steep; doors too tough to open; ledges you cannot sit on. . . . It is difficult to design an urban space so maladroitly that people will not use it, but there are many such spaces." Yet Whyte finds encouragement in the widespread rediscovery of the city center. The future is not in the suburbs, he believes, but in that center. Like a Greek agora, the city must reassert its most ancient function as a place where people come together face-to-face.