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Architecture, Books, Education, Ethics, Mark David Major, News, Philosophy, Photography, Poor Richard, Professional

COMING SOON | Poor Richard Volume 3

“This one book will do more for some readers than four years of higher education.” – Andy Boenau, Foreword to Poor Richard, Yet Another Almanac for Architects and Planners

Praise for the first two volumes of the Poor Richard series of almanacs for architects and planners by MARK DAVID MAJOR

“Worthwhile”  •  “Thought-provoking”  •  “Readers will love” Poor Richard in “following both Benjamin Franklin and Ambrose Bierce”
(Planning Magazine and Portland Book Review).

“The rhythms of the city’s streets are musical. Listen.” – Poor Richard

Poor Richard, Yet Another Almanac for Architects and Planners offers more common sense proverbs, astute observations, and general rules of thumbs about architecture, urban design, town planning, and much more in the third and final volume of the Poor Richard series. Author Mark David Major blends original ideas with adapted wisdom in an easy-to-read manner designed to spark deeper thought about hearth and home, streets and cities, and people and society. Poor Richard, Yet Another Almanac for Architects and Planners is essential reading for anyone interested in the future of the built environment. Poor Richard’s witticisms are often eloquent, sometimes biting, occasionally opaque in the absence of deeper reflection, and always insightful. They offer a valuable resource for the entire year, a clarion call and warning for everyone involved in the creation of our built environments to embrace their better angels and reject the worse demons of human nature.

The clear message of Poor Richard, Yet Another Almanac for Architects and Planners, with foreword by Andy Boenau (author of Emerging Trends in Transportation Planning), is we can do better and we must do better for the built environment and our cities.

Available soon from Amazon, CreateSpace, and the Kindle Store.

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Architecture, Education, Housing, Mark David Major, Photography, Urban Planning

Pruitt-Igoe | A Photographic Essay

Pruitt-Igoe | A Photographic Essay
by Dr. Mark David Major, AICP, CNU-A

Today, we set a very specific task to promote our forthcoming, new course on The Outlaw Urbanist online learning platform: “A Failure of Modernism: ‘Excavating’ Pruitt-Igoe” (2.0 hour). Namely, create a photographic essay telling the story, in part, of the Pruitt-Igoe Public Housing Complex in St. Louis, Missouri using only ten photographs with shortish captions, i.e. no plans, maps, statistics, or computer models. Quite frankly, it is a near impossible task. Nonetheless, the photos are fascinating and there are plenty of informative links to related materials available in the captions so you can discover more about this (in)famous housing project.

Pruitt-Igoe is one of the most commonly cited examples of the failure of Modernism in the world. The televised demolition of Pruitt-Igoe residential towers in 1972 is one of the most iconic images of 20th-century architecture and planning (Photograph: The Pruitt-Igoe Myth Press Materials).

Opening circa 1954, Pruitt-Igoe was Federally-funded social housing constructed with 2,870 apartments for 13,000 people (228 people/acre) in thirty-three 11-story buildings on 57 acres with a housing density of 50 dwelling units per acre in north St. Louis (Photograph: Bettmann/Corbis via The Guardian).

Pruitt-Igoe was a ‘hybrid design’ for a high-profile, strategic site. It incorporated Modernist principles (i.e. high-rises towers, separation of uses and building siting, stripped down aesthetics where ‘form follows function, etc.) utilizing a regular grid layout in the urban pattern of St. Louis, which was commonly planned on offsetting ‘smallish’ regular grids in a process of deformation, i.e. small for American cities, big for European ones (Photograph: U.S. Geological Survey via Wikipedia Commons).

Pruitt-Igoe replaced 19th-century tenement housing, which was typical of the DeSoto-Carr neighborhood and many areas of St. Louis at the time. Survey of a 1938 Sanborn map indicates there were a minimum of 730 street-oriented dwelling entrances with minimal street setbacks on the site before Pruitt-Igoe, i.e. exclusive of buildings with deep setbacks, large (non-residential) footprints, alleyway-access, and vacant lots (Photograph: State Historical Society and Missouri/University of Missouri-St. Louis Archives).

The pilotis design feature partially ‘liberated’ the ground level for circulation routes, which crucially mediated inside to outside and vice versa, i.e. formal access to the elevator/stairwells in each tower and spatial distribution in the exterior spaces of the layout. The residential towers elevated dwelling entrances in section to internal corridors, effectively representing a complete elimination of front doors in the site (Photograph: Affordable Housing Institute).

The cost-cutting inclusion of ‘skip-stop’ elevators only stopping at the 1st, 4th, 7th, and 10th floors forced most residents to use dark stairwells – principally designed as fire exits – to access the floors of their apartment. They were publicly accessible due to the uncontrolled pilotis design feature, which also provided access to multiple routes at ground level in an ‘easy to read and use’ layout. Collectively, this facilitated opportunity and escape for criminal activities, initially focused on the stairwells but later spreading to other spaces (Photograph: The Pruitt-Igoe Myth).

People must have quickly realized the opportunities inherent in the design and planning of the pilotis feature because intensive patrols of the buildings and grounds began shortly after Pruitt-Igoe opened, even before any welfare recipients were allowed to live there. Former residents indicate these stairwells/elevators were problematic spaces from the very beginning (Photograph: St. Louis Post-Dispatch).

The number of unsupervised children in archival footage of Pruitt-Igoe is startling. ‘Baked-in’ problems of racism accentuated by many regulatory failures skewed Pruitt-Igoe’s demographics towards female-led households with children. Declining occupancy led to a ‘broken interface’ between adults and children. There were too few adults (especially males who belonged there) and too many children for too much space. Unsupervised children (especially teenagers) participated in petty vandalism, which worsened the perception of social malaise at Pruitt-Igoe (Photograph: The Pruitt-Igoe Myth).

There was an asymmetrical relationship (i.e. unequal) between the Vaughan (foreground) and Pruitt-Igoe (background) social housing in terms of formal access, horizontal and vertical scale, and spatial distribution. Nine strategic diagonal/gridline routes passing through, within or to the edge of Vaughan provided direct/adjacent access to every Pruitt-Igoe residential tower, suggesting the opening of Vaughan circa 1957-58 might have been complicit in Pruitt-Igoe’s social malaise (Photograph: U.S. Geological Survey).

Social malaise accelerated at Pruitt-Igoe during the 1960s even as residents maintained some apartment interiors until a cataclysmic mechanical failure in 1968 (watch a 5-minute KMOX news report on YouTube here) led to a St. Louis Public Housing Authority order for phrased vacating of the premises in preparation for demolition. According to news reports/resident testimony, the worst, most violent criminal activities at Pruitt-Igoe occurred during this 5-year period from 1968-1972 (Photograph: Zuma Press/Alamy via The Guardian).

This photographic essay only begins to scratch the surface of the issues surrounding this housing project. There is MUCH MORE to the story of Pruitt-Igoe. Learn more by participating in our forthcoming, new course — “A Failure of Modernism: ‘Excavating’ Pruitt-Igoe” — when it becomes available!

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Architecture, Art, Cinema, Mark David Major, Photography, Review

Top 10 ‘Must See’ Films for Architects and Planners

Top 10 ‘Must See’ Films for Architects and Planners
by Dr. Mark David Major, AICP, CNU-A

The Outlaw Urbanist recently made available the six-hour Architecture and Film ($39.99) course series on its professional development and continuing education learning platform. The series is composed three 2-hour courses, which are also available as individual components: Do Architects Dream of Celluloid Buildings? ($14.99); The Architectural Competence in Cinema ($14.99); and, The Best of Both Worlds ($14.99). The course series is a wide-ranging discussion about architecture’s impact on cinema in the mise en scène (e.g. everything in the frame) of film-grammars, involving general rules for the depiction of built environments in support of cinematic narratives. The course series reviewed dozens of examples in film and television. The question naturally arises about what might be the most definitive examples of architecture’s impact on cinema. What is the essential ‘must-see’ list of films for architects and planners to see?

Without further ado, here is the Top 10 ‘Must-See’ Films for Architects and Planners…

Honorable Mention: Logan’s Run (1976)
Are you still confused about what a ‘smart city’ might really be? Four decades ago, the central premise of Logan’s Run was based on the premise of a smart city. The computers of the city control every significant aspect of the lives of its citizens including decisions of life and death… unless you become a runner. After Logan 5 and Jessica 6 escape the city, the film quickly loses pace. Ultimately, the story cannot bear the weight of its intriguing premise, which is why Logan’s Run barely missed the cut for this list. Logan and Jessica explore ‘outside’ for only a few days, then even they (much like the audience) can’t wait to get back to the city, if only on some ill-defined mission to undercut the society living there.

10. Inception (2010)
The most effective film to date to make use of Computer-generated imagery (CGI) manipulation of the built environment in order to convey a distortion of reality to the audience. In this case, it is the dream-within-dream premise of Christopher Nolan’s narrative. Marvel’s 2016 Doctor Strange deploys the same digital tricks, only more so. As cool as these visual effects are, the most effective consequence has been more realistic cinematic depictions of built environments generating their own gravity in ‘hard’ science fiction films with settings in space such as Interstellar, Elysium, Star Trek Beyond, and so on.

9. The Truman Show (1998)
One of the most comprehensive examples of filmmakers transforming a real place (New Urbanist resort town of Seaside, Florida) into the fictional setting of Seahaven, Florida, which is really a set in Hollywood, California for a reality television series watched by millions around the world. The payoff for the narrative and premise comes at the climax when Truman (played by Jim Carrey) sails to the outer wall of the set to escape his manufactured reality (see above). Pleasantville (1998) in the same year is also worth a look, if only for the joke about the common paradoxes associated with urban geography in cinema. Hollywood films that are basically about Hollywood itself always border on the edge of self-indulgence. Both The Truman Show and Pleasantville avoid this trap, for the most part.

8. Harry Potter (2001-2011)
The Harry Potter films had to walk a very fine line between real and fantastical settings. It is a testament to the genius of J.K. Rowling’s source novels and the creative talents of the filmmakers that the Harry Potter film series successfully navigates this line. The use of film-grammars involving cinematic built environments and spatial concepts play a large but subtle role in achieving this objective. Harry Potter offers a good example of historical juxtaposition and a very specific use for the abnormal scale film-grammar in architectural elements to support  the Harry Potter narrative.

7. “Q Who”, Star Trek: The Next Generation (1989)
There is a great advantage for extended narratives on television, especially for a franchise like Star Trek. There is more time for filmmakers to play with, even subvert well-established film-grammars when it comes to depictions of the built environment in service to the narrative. The problem is selectively choosing only one or two examples of these ‘world-building’ efforts, which are sometimes expansively and exhaustively developed over years, even decades in the case of Star Trek. The 1989 episode “Q Who” on Star Trek: The Next Generation is a good, stand-alone introduction to the larger Star Trek universe. Using the film-grammar of abnormal scale to convey narrative threat has never been done better before or since on Star Trek.

6. The Lord of the Rings (2001-2003)
Depictions of the built environment (primarily, historical juxtaposition) for the world-building of these films plays a crucial role in visually conveying important narrative information to the audience. There is a very tight, thematic structure associated with the built environment and nature in The Lord of the Rings, which is effective for supporting the protagonist and antagonist requirements of the narrative. The origins of this thematic structure can been traced right back to J.R.R. Tolkien’s source novels.

5. The Matrix (1999)
The definitive film about the potential allure and negative consequences of life inside a simulated environment. At its core, The Matrix is a sophisticated science fiction escape narrative. Its depictions of built environments are rudimentary for the most part, relying on real locations in Sydney, Australia though the filmmakers manage to make it look like a hyper-real amalgamation of Los Angeles and New York. The cinematic narrative soars when it comes to the visual effects associated with manipulating the simulated reality of the Matrix.

4. Star Wars: Episode 5: The Empire Strikes Back (1980)
When it comes to mise en scène in support of cinematic narratives, The Empire Strikes Back directed by Irvin Kershner might be the most perfect film ever made. Almost every scene conveys a rich amount of information to the audience through the use of background, middle ground and foreground in the frame. In fact, you might be able to watch The Empire Strikes Back absent its dialogue track – leaving John Williams’ crucial musical score in place – and still understand almost every nuance of story and characterization in the film. It is brilliant, plain and simple.

3. Game of Thrones (2011 – present)
The extended narrative of this HBO series (only 10 episode per season so 60 episodes through six seasons though some run times extend beyond the standard one-hour format) is a master class for using the rules of film-grammars in world-building production design to support cinematic narratives. Mainly, this occurs with on-location filming and CGI enhancement of built environments to create the fantastical settings of Westeros and Essos. The filmmakers go far beyond George R.R. Martin’s source novels, which often rely on literary conventions (i.e. allowing readers’ imaginations to fill in the descriptive gaps). We can only hope the climax of the final two seasons of Game of Thrones deliver a satisfactory conclusion to the creative brilliance of the series to date.

It is always difficult to avoid ‘the usual suspects’ at the top of this list…

2. Blade Runner (1982)
Ridley Scott was at the height of his creative powers as a filmmaker during the period coinciding with the release of Alien (1979), Blade Runner (1982) and the Apple “1984” television commercial. Blade Runner represents the ‘oxygen-depriving’ summit. Long before the CGI age, Blade Runner relied on ‘old school’ techniques of on-site location filming, constructed sets, physical modeling, lighting and set dressing to create the futuristic setting of Los Angeles in 2019. Architecture plays a starring role in the film right along with Harrison Ford, Sean Young, and Rutger Hauer. The narrative is tight and thought-provoking. The production design is outstanding. Scott’s use of mise en scène and ‘tried and trusted’ film-grammars to visually convey narrative information to the audience transforms the film into a deeply rich experience on several levels. Despite its reputation in architectural schools,  Blade Runner does not actually break the cinematic mold. It merely elevates it to unforeseen heights of artistic expression.

1. Metropolis (1927)
If Ridley Scott’s Blade Runner is the ‘Revelation’ for mise en scène and film-grammar depictions of the built environment, then Fritz Lang’s 1927 silent film classic Metropolis is the ‘Genesis’, especially for the science fiction genre. The (often-repeated) film-grammar of abnormal scale for conveying the antagonistic threat of the narrative began here (see above). In fact, a lot of the cinematic conventions most familiar to audiences (if only on a subconscious level) have their origins in Lang’s German Expressionist film. Blade Runner may have elevated the cinematic mold to unforeseen heights but Metropolis invented that mold.

Purchase the Architecture and Film course series here ($39.99)
Purchase Part 1, “Do Architects Dream of Celluloid Buildings?”, here ($14.99)
Purchase Part 2, “The Architectural Competence in Cinema”, here ($14.99)
Purchase Part 3, “The Best of Both Worlds”, here ($14.99)

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Architecture, Art, Cinema, Education, News, Photography

NOW AVAILABLE | Architecture and Film Course Series (6.0 hour)

The Architecture and Film Course Series reviews the seductive correspondence between cinema and architecture. Of all the fine arts, cinema and architecture seem to uniquely correspond due to their natures as both an art and a science. In no small part, this is because both deploy many of the same concepts in a superficial and/or substantive way, i.e. representation, presentation, functionality, and materiality. Over the last four decades, startling technological advances, mostly deriving from computer science, have further blurred the distinction between cinema and architecture. Collectively, this tends to obscure the most important aspect, which is architecture’s impact on the dual aims of cinema, e.g. narrative and technology. Part I, “Do Architects Dream of Celluloid Buildings” reviews the conceptual, historical and technological correspondence between cinema and architecture. Part II, “The Architectural Competence in Cinema” and Part III, “The Best of Both Worlds”, review the cinematic use of architectural precedents and typologies in crafting distinctive film-grammars in support of narrative and characterization. The “Architecture and Film” course series more closely examines the frequent role of the built environment in creatively reinforcing or subverting expectations of the audience about cinematic narratives (6.0 course). Click here to purchase this full course series ($39.99).

Key concepts:  abnormal scale, analogy, architectural typologies, cinema, cultural appropriation, extended narratives, fantasy, historical juxtaposition, historical intensification, historical precedent, hyperreality, language, narrative, representation, scale, science fiction, and technology.

Includes a three(3) two-hour video presentations and PDFs of the supplementary materials and slide handouts for each course.

Part 1 Film and Television Topics
The Wizard of Oz, A Trip to the Moon, Game of Thrones, Star Wars, The Hunger Games, Friends, New Girl, Planet of the Apes, Alice in Wonderland, Star Trek, To Kill a Mockingbird, Back to the Future, Westworld, When Dinosaurs Ruled the Earth, Jurassic Park, The Wedding Singer, The Terminator, Babylon 5, Captain America, Avatar, Battlestar Galactica, It’s a Wonderful Life, Zelig, Forrest Gump, Jupiter Rising, Toy Story, Tron, Resident Evil, Total Recall, The Matrix, A Scanner Darkly, Contagion, American Psycho, Metropolis, Blade Runner

Part 2 Film and Television Topics
Alien, War of the Worlds, V for Vendetta, Blade Runner, Jaws, Watchmen, Batman, The Rape of Doctor Willis, Superman, The Lady in the Water, Close Encounters of the Third Kind, Star Wars, The Godfather, Game of Thrones, The Lord of the Rings, Baywatch, The Shawshank Redemption, Thor, From Hell, The Lodger, James Bond, Chinatown, Logan’s Run, Four Weddings and a Funeral, Stargate, Battlestar Galactica, Cube, 1984, Divergent, The Truman Show, Pleasantville, Metropolis, V, Independence Day, Invasion of the Body Snatchers

Part 3 Film and Television Topics
Star Trek, Harry Potter, Blade Runner, The Lord of the Rings, Citizen Kane, Batman, Doctor Who, Inception, A Nightmare on Elm Street, Spellbound, Doctor Strange, 2001: A Space Odyssey, Interstellar, Star Wars, Logan’s Run, Alien, Dune, Battlestar Galactica, Zoolander, The Martian Chronicles, Invasion of the Body Snatchers, District 9

Please note there may be a delay for a couple of hours before you are able to access the course because we have to confirm receipt of payment for each order before completing the purchase.

About the Instructor

mark_v3Dr. Mark David Major, AICP, CNU-A is an architect and planner with extensive experience in urban planning and design, business management and real estate development, and academia. He is a Professor of Urban Design at the Savannah College of Art and Design. Mark has been a visiting lecturer at the University of Florida, Georgia Tech, Architectural Association in London, the University of São Paulo in Brazil, and Politecnico di Milano in Italy.

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Architecture, Art, Cinema, Education, News, Photography

NOW AVAILABLE | The Best of Both Worlds | Architecture & Film, Part 3

Part III of the Architecture and Film course series, “The Best of Both Worlds”, reviews the seductive correspondence between cinema and architecture. Over the last four decades, the film-architecture analogy and startling technological advances, mostly deriving from computer science, have blurred the distinction between cinema and architecture. Collectively, this tends to obscure the most important aspect, which is architecture’s impact on the dual aims of cinema, e.g. narrative and technology. Part III reviews the cinematic use of architectural precedents and typologies in crafting distinctive film-grammars in support of narrative and characterization for extended narratives. The “Architecture and Film” course series more closely examines the frequent role of the built environment in creatively reinforcing or subverting expectations of the audience about cinematic narratives (2.0 hour course). Click here to purchase this course ($14.99)

Key concepts:  extended narratives, science fiction, fantasy, abnormal scale, cultural appropriation, and historical juxtaposition.

Includes a two-hour video presentation and PDFs of the course supplementary material and slide handout.

Part 3 Film and Television Topics
Star Trek, Harry Potter, Blade Runner, The Lord of the Rings, Citizen Kane, Batman, Doctor Who, Inception, A Nightmare on Elm Street, Spellbound, Doctor Strange, 2001: A Space Odyssey, Interstellar, Star Wars, Logan’s Run, Alien, Dune, Battlestar Galactica, Zoolander, The Martian Chronicles, Invasion of the Body Snatchers, District 9

Please note there may be a delay for a couple of hours before you are able to access the course because we have to confirm receipt of payment for each order before completing the purchase.

About the Instructor

mark_v3Dr. Mark David Major, AICP, CNU-A is an architect and planner with extensive experience in urban planning and design, business management and real estate development, and academia. He is a Professor of Urban Design at the Savannah College of Art and Design. Mark has been a visiting lecturer at the University of Florida, Georgia Tech, Architectural Association in London, the University of São Paulo in Brazil, and Politecnico di Milano in Italy.

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