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The story of how the multicultural identity of San Antonio, Texas, has been shaped and polished through its annual fiesta since the late nineteenth century.
"Flat-out one of the most interesting books I've read in years. To say that a book about California might rank with Kevin Starr's Americans and the California Dream or Mike Davis' City of Quartz is dangerously high praise, but I think Axelrod's book may someday be in that league."—John Ganim, University of California, Riverside "Inventing Autopia thoughtfully weaves together planning and policy history with cultural history to great effect. It is sure to change our understanding of the ways in which Los Angeles not only grew and developed but envisioned itself in the era."—William Deverell, author of Whitewashed Adobe: The Rise of Los Angeles and the Remaking of Its Mexican Past
Claes Oldenburg’s commitment to familiar objects has shaped accounts of his career, but his associations with Pop art and postwar consumerism have overshadowed another crucial aspect of his work. In this revealing reassessment, Katherine Smith traces Oldenburg’s profound responses to shifting urban conditions, framing his enduring relationship with the city as a critical perspective and conceiving his art as urban theory. Smith argues that Oldenburg adapted lessons of context, gleaned from New York’s changing cityscape in the late 1950s, to large-scale objects and architectural plans. By examining disparate projects from New York to Los Angeles, she situates Oldenburg’s innovations in local geographies and national debates. In doing so, Smith illuminates patterns of urbanization through the important contributions of one of the leading artists in the United States.
Winner of a Lewis Mumford Prize: “Extremely engaging reading for those interested in the history of cities and urban experience.” —Booklist Written by one of this country’s foremost urban historians, Downtown is the first history of what was once viewed as the heart of the American city. It tells the fascinating story of how downtown—and the way Americans thought about downtown—changed over time. By showing how businessmen and property owners worked to promote the well-being of downtown, even at the expense of other parts of the city, it also gives a riveting account of spatial politics in urban America. Drawing on a wide array of contemporary sources, Robert M. Fogelson brings downtown to life, first as the business district, then as the central business district, and finally as just another business district. His book vividly recreates the long-forgotten battles over subways and skyscrapers in the late nineteenth and early twentieth centuries. And it provides a fresh, often startling perspective on elevated highways, parking bans, urban redevelopment, and other controversial issues. This groundbreaking book will be a revelation to scholars, city planners, policymakers, and anyone interested in American cities and American history. “A thorough and accomplished history.” —The Washington Post Book World "Superlative . . . a vital contribution to the study of American life.” —Publishers Weekly “A superbly thorough analysis of the causes of inner-city blight, congestion, and economic decline in mid-20th century urban America.” —Library Journal Includes photographs
Annotation Downtown is the first history of what was once viewed as the heart of the American city. Urban historian Robert Fogelson gives a riveting account of how downtown--and the way Americans thought about it--changed between 1880 and 1950. Recreating battles over subways and skyscrapers, the introduction of elevated highways and parking bans, and other controversies, this book provides a new and often starling perspective on downtown's rise and fall.
Inventing Mobility For All: Mastering Mobility-as-a-Service with Self-Driving Vehicles describes Mobility-as-a-Service and explains the impact of this mobility concept on social and societal life as well as on people's travel behavior.
The term “artistic animator” is inspired by the definition “Kunstanimator” given to Spoerri by his longstanding friend Karl Gerstner during an interview with Katerina Vatsella in 1995. Wherever he went, Spoerri was capable of inspiring others to make art, and at the same time he absorbed, interiorized and transformed ideas from others. His fluctuating memberships during late Modernism (Zero, Nouveau Réalisme, Fluxus, Mail Art) explain why some areas of this work have not yet received their due attention and their connection to the whole picture has often eluded scholarly inquiry. Beyond his tableaux-pièges, which gave him immediate notoriety through an early purchase by the MoMA, Spoerri discovered a new way to approach the multiples in sculpture (Edition MAT), he transformed his trap pictures into an experimental narrative form (Topographie Anécdotée du Hasard), he initiated the Eat Art movement, he tested an innovative curatorial approach (the Musée Sentimental and the Giardino). Despite constant interruptions due to his semi-nomadic lifestyle, this oeuvre presents an extraordinary coherence, where none of these ventures can be properly understood without considering all the others. This is the first monograph entirely devoted to Daniel Spoerri in the United States to date. With an introduction by Barbara Räderscheidt.
An illustrated account of the creation of the Charles River Basin, focusing on the precarious balance between transportation planning and the stewardship of the public realm. The Charles River Basin, extending nine miles upstream from the harbor, has been called Boston's "Central Park." Yet few realize that this apparently natural landscape is a totally fabricated public space. Two hundred years ago the Charles was a tidal river, edged by hundreds of acres of salt marshes and mudflats. Inventing the Charles River describes how, before the creation of the basin could begin, the river first had to be imagined as a single public space. The new esplanades along the river changed the way Bostonians perceived their city; and the basin, with its expansive views of Boston and Cambridge, became an iconic image of the metropolis. The book focuses on the precarious balance between transportation planning and stewardship of the public realm. Long before the esplanades were realized, great swaths of the river were given over to industrial enterprises and transportation—millponds, bridges, landfills, and a complex network of road and railway bridges. In 1929, Boston's first major highway controversy erupted when a four-lane road was proposed as part of a new esplanade. At twenty-year intervals, three riverfront road disputes followed, successively more complex and disputatious, culminating in the lawsuits over "Scheme Z," the Big Dig's plan for eighteen lanes of highway ramps and bridges over the river. More than four hundred photographs, maps, and drawings illustrate past and future visions for the Charles and document the river's place in Boston's history.
Today, women in both business and leisure, have a critical influence on the success of a downtown area. What are the factors that should be considered when designing or re-inventing your downtown so that this important demographic feels welcome, safe and included? This book explores the factors that influence their desire to do business, travel to, and stay in your downtown. Through the eyes of many subject matter experts, we explore everything from parking, lighting and nightlife to marketing, color and retail. You will see your downtown through a different lens after reading what these experts have come to learn.
A history of 1960s activist art group Black Mask. With Up Against the Real, Nadja Millner-Larsen offers the first comprehensive study of the group Black Mask and its acrimonious relationship to the New York art world of the 1960s. Cited as pioneers of now-common protest aesthetics, the group’s members employed incendiary modes of direct action against racism, colonialism, and the museum system. They shut down the Museum of Modern Art, fired blanks during a poetry reading, stormed the Pentagon in an antiwar protest, sprayed cow’s blood at the secretary of state, and dumped garbage into the fountain at Lincoln Center. Black Mask published a Dadaist broadside until 1968, when it changed its name to Up Against the Wall Motherfucker (after line in a poem by Amiri Baraka) and came to classify itself as “a street gang with analysis.” American activist Abbie Hoffman described the group as “the middle-class nightmare . . . an anti-media phenomenon simply because their name could not be printed.” Up Against the Real examines how and why the group ultimately rejected art in favor of what its members deemed “real” political action. Exploring this notorious example of cultural activism that rose from the ruins of the avant-garde, Millner-Larsen makes a critical intervention in our understanding of political art.