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Urban Patterns | Vienna, Austria

“Now in Vienna there are ten pretty women,
There’s a shoulder where Death comes to cry.”
Take this Waltz, Leonard Cohen

Urban Patterns | Vienna, Austria
by Dr. Mark David Major, AICP, CNU-A

Vienna is the capital and largest city of Austria with a population of about 1.8 million (2.6 million within the metropolitan area, nearly one-third of Austria’s population), and its cultural, economic, and political center. It is the 7th-largest city by population within city limits in the European Union. There is evidence of continuous habitation in Vienna since 500 BC when the site on the Danube River was first settled by the Celts. In 15 BC, the Romans fortified the frontier city they called “Vindobona” to guard the empire against Germanic tribes invading from the north. Vienna is known for its high quality of life. In a 2005 study of 127 world cities, the Economist Intelligence Unit ranked the city first (in a tie with Vancouver, Canada and San Francisco, USA) for the world’s most liveable cities (Source: Wikipedia).

Satellite view from 5 km of Vienna, Austria (Source: Google Earth).

The urban layout of Vienna is a classic European deformed grid with a series of open-angled diagonal routes radiating outward from center-to-edge and intersecting/overlaying with a series of ring/orbital roads, which similarly radiate outwards based on an increasing radius from center-to-edge, i.e. smaller rings in the center, successively larger in the periphery. As in other European cities, the deformed grid pattern in the oldest area of the city (more or less center above) is composed of smaller blocks and shorter streets. As the city has grown in size, the size of blocks and length of streets (and associated segments) have increased, which embeds the layout with a strongly consistent geometric logic (especially when blocks are examined in discrete terms) in its deformed grid pattern.

(Updated:  May 18, 2017)

Urban Patterns is a series of posts from The Outlaw Urbanist presenting interesting examples of terrestrial patterns shaped by human intervention in the urban landscape over time.

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A Dark Curtain Falls Across the Middle East

A Dark Curtain Falls Across the Middle East
by Dr. Mark David Major,  AICP, CNU-A, The Outlaw Urbanist contributor

NOTE: We are momentarily stepping away from urban subjects to discuss bigger issues However, the anti-government protests in Turkey did originate in the realm of urban development.

Incrementally, inch-by-inch, from the shores of Tripoli to the Bosporus Straits to the Khyber Pass, there is a dark curtain falling across the Middle East. It was the late writer, Christopher Hitchens, who coined the phrase “Islamo-Fascism” after 9/11. He did so to accurately characterize this latest threat to the principles of liberty and justice. This is the “inheritance” Winston Churchill traced in his famous Iron Curtain speech “through Magna Carta, the Bill of Rights, the Habeas Corpus, trial by jury, and the English common law find(ing) their most famous expression in the American Declaration of Independence” Over the last decade, we have abbreviated Hitchens’ term into the shorthand term of “Jihadist”. However, Hitchens original formulation remains precise because it recognizes the very long history of totalitarianism (too long to recount here) and 20th century flirtation with the fascism of Nazi Germany in the Middle East. In the post-war period, this history of tyranny and flirtation with genocide metastasized around an expressed goal: the destruction of Israel.

Like Libya before it, Jihadists have infiltrated the pro-democracy rebellion in Syria while Hezbollah fighters enter the country in support of the tyrannical government of Bashar al-Assad. In essence, this rebellion now pits one model of tyranny against another with the democratic elements poised to be sidelined/eliminated once their immediate usefulness against the Assad government is over. Jihadists used the grassroots, pro-democracy protests of the Arab Spring as a springboard to political power in Egypt. Now Islamic-rooted Turkey Prime Minister Recep Tayyip Erdogan’s riot police used tear gas and pressurized water hoses in a dawn raid on Friday against a peaceful sit-in to prevent the uprooting of trees at a local park. The initial protest has expanded beyond urban renewal issues to demonstrations against new laws recently enacted that restrict the sale and advertising of alcohol and public displays of affection (i.e. kissing). The implications for the West of ‘losing Turkey’ (which already has a Jihadist-tainted government) are profound.

What is American and Western policy towards the Middle East? Does anybody know? It appears to wildly fluctuate from situation to situation and moment to moment. Our policy circles around the strategic signpost “to keep the oil flowing” while veering back and forth between (often mistaken) tactical assessments about what is easy (i.e. Libya, intervene; Afghanistan, surge) or what is hard (i.e. Syria, stay out of it; Iraq; get out), which is to say there is no coherent policy at all. This is no way for a “great” county and civilization (which we aspire to and often claim on behalf of the United States and Western Europe) to conduct its affairs. Given these conditions, it should not be a surprise to anyone the “huddle masses yearning to breathe free” on the Arab streets are befuddled and frustrated by the incoherent policies of the United States and Western Europe. After 9/11, the United States and Western Europe made a mistake. It was an honest mistake because it was born of anger but a mistake nonetheless. We thought Al-Qaeda’s attack was about us. It was not, it was about power. Subsequent events in the Middle East have demonstrated the agenda of the Jihadists is to achieve political power, oppress liberal-minded citizens and thought (such as Christianity), and accumulate power for its own sake. In his second augural address, George W. Bush attempted to frame the current threat on more solid footing as a struggle against tyranny, liberty versus oppression, and the dreams of freedom for the many in opposition to the pursuit of power by a few.

Many in the West ridiculed this reframing by the American President into the “Freedom Agenda” as hopelessly naïve. You cannot fight and defeat an idea. Of course, they are correct. However, ideas take on recognizable forms. In democratic societies, these forms include free markets, freedom of movement, and tolerance of the Other. In oppressive regimes, they take the form of financial corruption, the elevation of state power over individual liberty, and intolerance of the Other. You fight and defeat the forms that tyranny takes in the world. It is time for the United States and the West to revisit its Cold War model and adapt the mechanism for this new threat. This includes the expansion of domestic oil production in North America in order to wean our societies (and, increasingly, China) off the teat of Middle Eastern oil. For the first time in decades, the United States is exporting oil. We need to rapidly expand this capacity. North American should be the principal supplier of oil to China lest we lose a (potentially) powerful ally in the coming struggle to the same dependency, which caused us to indirectly finance the current threat. In the process, we need to get our fiscal house in order. A new policy should include containment. We must develop a strategy for the Middle East to halt the expansion of Islamo-Fascism, which includes modernizing (perhaps even expanding) our nuclear deterrent and reconstituting the doctrine of having the military capacity to fight two wars simultaneously. As part of this containment strategy, we will have to recognize and accept we may lose some countries (like Egypt) along the way but, in the modern era of globalization, mass communications, and the internet, these are more likely to be temporary situations. A similar transition as witnessed during the Cold War is likely to occur at a much more rapid rate (taking years instead of decades). Finally, we must actively engage in destabilizing these tyrannical regimes by any means necessary, including clandestine activities, expanded intelligence gathering ‘on the ground’, Wi-Fi American Free (a modern adaption of the Radio Free Europe concept) and filtering financial support to grassroots democratic movements. Our view should be on the end game, not the distractions of the moment. And our end game should always be to grow the “tree of liberty” for all, lest we condemn more than 300 million people to the darkness.

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Organized Complexity | The City in Art

Kathleen Patrick’s In a Mellow Mood – Sax Solo, oil on canvas, 36″ x 48″, Chicago Museum of Contemporary Art.

Organized Complexity | The City in Art
by Dr. Mark David Major, AICP, CNU-A

Kathleen Patrick is best known for her late 20th-century urban scenes (usually of Chicago), whether wildly colored, energy filled abstracts or highly imaginative cityscapes. Her work strikes a balance between likeness and abstraction. These highly abstract works often contain some pictorial reference to cities and the cityscapes frequently exhibit whole areas, which read as abstracts. This creates a scale and a continuum of abstraction and representation intrinsic to the works of this artist (Source: Chicago Museum of Contemporary Art). Some examples of these abstract cityscapes are below.

Kathleen Patrick’s Chicago – (left to right) In the Afternoon, The City at Dusk, and In the Evening.

However, for this latest edition of The City in Art series, we have selected a painting by Kathleen Patrick that is not explicitly (at least, according to its title) about the city: In a Mellow Mood – Sax Solo (at the top of the page). It seems entirely appropriate – for an artist who has so often taken the cityscape of Chicago as a subject – that something of the urbane would find its way into her paintings about other subjects. This appears to happen in her painting, In a Mellow Mood – Sax Solo, which manages to capture in an abstract manner the “organized complexity” of the city once described by Jane Jacobs. In jazz, a rhythm and order emerge from what, at first hearing, is a seemingly discordant series of notes. Such as it is in the city, too. Patrick’s painting could easily be an impressionistic rendering from above of bodies in motion over time through an urban space or even a notional urban pattern. At first glance, it is seemingly chaotic. However, there is an order and a rhythm to be discovered amidst the chaos.

About Kathleen Patrick
Kathleen Patrick is a highly collected artist with both corporate and private collectors around the world. She has been represented by several major galleries in Southern California and has exhibited her work in the Chicago area for over ten years. Her works appear in the collections of Gucci, the Bank of America, the University of Illinois and the University of Wisconsin and hang in the Sears Tower, the John Hancock, and many other major buildings in the Chicago area. She includes among her influences the color and freedom of Chagall, the energy and passion of Van Gogh, and the spatial collage of time and space of Picasso (Source: Chicago Museum of Contemporary Art).

The City in Art is a series by The Outlaw Urbanist. The purpose is to present and discuss artistic depictions of the city that can help us, as professionals, learn to better see the city in ways that are invisible to others. Before the 20th century, most artistic representations of the city broadly fell into, more or less, three categories: literalism, pastoral romanticism, and impressionism, or some variation thereof. Generally, these artistic representations of the city lack a certain amount of substantive interest for the modern world. The City in Art series places particular emphasis on art and photography from the dawn of the 20th century to the present day.

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On Space | The City as Life Revealed

On Space | The City as Life Revealed
by Dr. Mark David Major, AICP, CNU-A

A city is a thing made of space. This space is infinite in its redundancies and strategic in its provision, full of potentials simultaneously realized and unrealized, required and unnecessary. It is a thing that both demands and defies analysis, of scholarly inquiry and sensory experience. A city is congruently an organism and a machine, a system of parts and part of a larger system joined in sustaining each other, related to itself and the world outside arbitrary boundaries drawn on a map. All of the city’s parts are strangely familiar yet also comforting in their distinctiveness from the Other. In the same manner, the whole pattern of cities obeys consistent rules, derived from existential truths, bound by gravity and our bipedal nature, always in the movement from here to there and back again. Yet no two cities are ever the same. We define similarities and differences to unveil their distinctive nature as urban objects. Meaning often derives from the mathematical artifice of geometrical assignment, daring to create and name our world in the image of the Geometer, in the same manner as we were created in Theirs. The power in the assigning is undeniable. On this basis, we parcel the fertile land by means of economy, far into the clouded past and the “undiscovered country” of the future, beyond the death of the present. From this emerges meaning and function, a city of light and sound, movement and life, each particular in their own way but also a simulacrum of all that has come before and will arrive again. There is power in the disorder of the city and a power of

On this basis, we parcel the fertile land by means of economy, far into the clouded past and the “undiscovered country” of the future, beyond the death of the present. From this emerges meaning and function, a city of light and sound, movement and life, each particular in their own way but also a simulacrum of all that has come before and will arrive again. There is power in the disorder of the city and a power of magnitude to be discovered in its orderly manifestation. Neither is greater than the other nor the sum of the parts. Within this (dis)order we live and function, day to day, year to year. We shape and are shaped by the space of the city, we utilize its strategic provisions for seeing, going, and being and its infinite redundancies to pause, understand, reflect, perhaps even decide. The light we shine on the city reflects upon ourselves and, in seeking to better understand the city, we learn to incrementally know ourselves. The city is both static in the moment and dynamic across the seconds. It can be understood all at once but its parts in isolation are – often so – the genesis of intellectual aberration. The organism grows but the machine still operates and we are befuddled. The city is at once process and product, the thing already made and in the process of becoming, the Father seeding the land, the Mother birthing the child, and the child being born, a Trinity upon itself. However, this is not a Mystery of faith but a failure of understanding. We must conjecture, we must believe, we must hypothesize, and we must dissect and reassemble if we hope to intervene with wisdom in the space of the city. Let us delve into Beingness of the city to better understand its nature with hope and expectation instead of fear and trepidation. It is life revealed.

On Space is a regular series of philosophical posts from The Outlaw Urbanist. These short articles (usually about 500 words) are in draft form so ideas, suggestions, thoughts and constructive criticism are welcome.

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Urban Patterns | Las Vegas, Nevada USA

“I wanna feel sunlight on my face. I see the dust-cloud,
Disappear without a trace. I wanna take shelter,
From the poison rain, Where the streets have no name.”
Where the Streets Have No Name, U2

Urban Patterns | Las Vegas, Nevada USA
by Dr. Mark David Major, AICP, CNU-A

There is a lot that can be said – and has been said over the years – about the “Modern Babylon’ known as Las Vegas, Nevada. Las Vegas comes from the Spanish, who used artesian wells for water in the area, supporting green meadows (vegas in Spanish), on journeys along the Old Spanish Trail from Texas during the 19th century. Mormons were the first to settle in the area in 1855 when Brigham Young assigned missionaries from Salt Lake City to convert the local Indian population to Mormonism. They constructed a fort near the current downtown area, which served as a stopover for travelers between Salt Lake City and Los Angeles. The missionaries abandoned the settlement a couple of years later during the Utah War (a bloodless confrontation between Mormon settlers and the U.S. Government).

Las Vegas, Nevada in 1906 (Source: Las Vegas Convention and Visitors Authority).

Las Vegas became a railroad town in 1905 when it was still a crossroads hamlet and briefly prospered in the early 20th century due to mining activities in the area, and as a rail stopover between Salt Lake City and Los Angeles. Official incorporation of the city occurred in 1911 and the State of Nevada legalized gambling in 1931. This led to the construction of the first casino-hotels in Las Vegas, which gained success and notoriety due to organized crime figures such as Bugsy Siegel and Meyer Lansky. Siegel and Lansky were associated with the Genovese crime family (one of New York City’s Five Families of the Cosa Nostra, i.e. American Mafia). However, Mormon-owned banks fronted Siegel and Lansky, which provided legitimacy for their activities. Siegel was a driving force behind large-scale development of Las Vegas until his murder in 1947. The large casino-hotels led to an explosion of urban growth that eventually made Las Vegas one of the top entertainment and tourist destinations in the world.

Satellite view from 20 km of Las Vegas, Nevada USA (Source: Google Earth).

Having said all this, we are going to limit today’s Urban Patterns post about Las Vegas to three things. First, a large amount of green visible in the above satellite image is completely man-made (either rooftops or lawns). Las Vegas is located in an arid basin on the desert floor, surrounded by dry mountains. Much of the landscape is rocky and dusty and the environment is dominated by desert vegetation. To borrow from Baudrillard, the greenery of Las Vegas is a landscaper’s simulacrum of a natural vegetation that otherwise does not exist in the area independent of man-made irrigation systems (much like Los Angeles). Second, is the readily-apparent importance of the radial streets (including a significant portion of Las Vegas Boulevard) feeding into the CBD/historic area (offset grid at the center). Lastly, is the indelible mark that has emerged over time on the urban landscape due to the national grid system imposed by the 1785 Land Ordinance, as evidenced by the large-scale orthogonal grid pattern around the CBD/historic area. These are only three interesting things about the city’s urban pattern. Las Vegas is an endlessly fascinating city for so many different reasons.

(Updated:  May 18, 2017)

Urban Patterns is a series of posts from The Outlaw Urbanist presenting interesting examples of terrestrial patterns shaped by human intervention in the urban landscape over time.

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