Tag Archives: Modernism

NOW AVAILABLE | A Failure of Modernism | ‘Excavating’ Pruitt-Igoe

A Failure of Modernism: ‘Excavating’ Pruitt-Igoe investigates the Pruitt-Igoe Public Housing Complex in St. Louis, Missouri USA. A large literature implicates several factors in Pruitt-Igoe’s decline, which public authorities famously demolished in 1972. Often, this literature cites design and planning as contributory factors without specifying how or why in precise terms. Building on archival records and previous research, we analyze the ‘spatial archaeology’ of Pruitt-Igoe using space syntax. Our purpose is to better understand how design and planning contributed to its social malaise. It concludes: 1) provision of space (i.e. quantity) became a liability as declining occupancy generated a ‘broken interface’ between adults and children; and, 2) the pilotis of the residential towers mediated formal access and spatial distribution in a layout characterized by ‘intelligible dysfunction,’ which facilitated opportunity and escape for criminal activities. Both fed the perception and reality of social malaise at Pruitt-Igoe (2.5 hour course). Click here to purchase this course ($17.49).

Key concepts:  design, Modernism, planning, public policy, and social housing.

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

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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Top 10 ‘Must See’ Documentary Films for Architects and Planners

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

Recently, The Outlaw Urbanist published the article “Top 10 ‘Must See’ Films for Architects and Planners” with reference to the influence of the built environment on film-grammars in support of cinematic narratives. However, there are other films (especially documentaries) worth seeing with a direct or indirect bearing on the built environment today. This is the purpose of today’s list of ‘must see’ documentary films for architects and planners. There are a lot of documentary films dedicated to specific architects. Most are vanity projects built on the ego of said architect, which lack much universal application for buildings or cities. You will not find such films on this list. The purpose of this list is value. What is informative and worth your time?

Inside Job (2010)
If you are well-informed, then there are interesting nuggets of information buried in the 2010 documentary Inside Job directed by Charles Ferguson with narration by Matt Damon (one of my favorite actors) about the housing crash and 2008 Financial Crisis. However, if you are uninformed or only casually acquainted with the facts (see below), then Inside Job is dangerous apologia propaganda for the left’s complicity in the cataclysmic events costing millions of people their jobs and homes. No one should be allowed to watch this film without first reading The Big Short: Inside the Doomsday Machine by Michael Lewis. Damon, his wife, and four daughters lived in an 8,890 square foot home (1,778 SF per person) in southern California at the time of filming. Yeah, sorry Matt, that’s being part of the problem, not the solution.

10. The Dynamic American City (1956)
This 25-minute 1956 educational film created by the U.S. Chamber of Commerce is worth viewing for contradictory reasons: 1) it gets everything wrong about vibrant urbanism; and, 2) it is a propaganda masterpiece on par with Leni Riefenstahl’s Triumph of the Will in using associative and dis-associative imagery and narration to hammer home its central message of ‘building up and out’ (it is right there in the Intro graphic) for making fast money in real estate built on the twin premises of slum clearing and suburbanization. If Joseph Goebbels had been an American developer, he would have been proud. For anyone with an ounce of common sense, it is like watching a car crash in real time: horrifying but you can’t take your eyes off it. Do you want to live in old stables or “on the frontier”? Even today, some Americans refuse to let go of the Big Lie in this film. You can watch it on YouTube here.

8/9. Too Big to Fail (2011)/The Big Short (2015)
These aren’t documentaries but dramatized accounts about the housing crash and 2008 Financial Crisis. Nonetheless, they are well done, littered with nuanced performances, and even-handed in providing public and private sector perspectives about events. They successfully manage the herculean task of being both entertaining and informative. Too Fail to Fail (2011) centers around Treasury Secretary Henry Paulson’s (William Hurt in an outstanding performance) actions to advert another Great Depression. The Big Short (2015) centers around a few people (all strong performances from Christian Bale, Ryan Gosling, and Steve Carell) in the financial sector who saw the approaching cliff, bet against the housing market and banks, and won big though not without a great deal of stress while encountering record levels of stupidity along the way. The latter is based on Michael Lewis’ The Big Short: Inside the Doomsday Machine, which we also thoroughly recommend.

7. Ben Building: Mussolini, Monuments, and Modernism (2016)
Part of Jonathan Meades’ (above) series of BBC Four documentaries (Jerry Building and Joe Building aka Nazi and Stalinist architecture, respectively) about architecture and planning under totalitarian regimes of the early 20th century, Ben Building: Mussolini, Monuments, and Modernism (2016) is the best in terms of quality and quantity of material. Simply put, Italian architects under Mussolini were doing much more interesting things in terms of design, which leads Meades to more even-handed commentary about his subject. The other two documentaries are worth seeing. The first suffers from a lack of existing/built examples (and typical British vitriol about all things German; Nazi or otherwise) and the second (Soviet) from an excess of questionable architectural taste. You can watch Ben Building on YouTube here before the BBC files a copyright infringement claim.

6. The Human Face of Big Data (2014)
This is a wide-ranging PBS documentary about the applications and implications of Big Data in the 21st century. As such, The Human Face of Big Data (2014) concentrates about half of its 56-minute running time on issues pertinent to cities, e.g. mapping social-economic data, Smart Cities, consumer tailoring, etc. Some of the researchers are missing – or fail to comment on – the obvious. For example, the documentary briefly shows data mapping of repeat offenders in Brooklyn NY, which is clearly mid-20th-century public housing to anyone familiar with Modernist building footprints. While it does not offer any definitive answers to the deeper questions raised by Big Data, it is still a useful exercise in asking questions about what it all might mean for you and our cities in the future. Watch the trailer below.

5. Super Skyscrapers: Building the Future (2014)
This is one episode in the 4-part series of PBS’ Super Skyscrapers (2014). The other episodes are interesting (mostly for their overkill in terms of design and engineering). However, this episode about the Leadenhall Building in the City of London designed by Rogers Stirk Harbour + Partners is a brilliant explanation about the way cutting-edge computer modeling and manufacturing processes are dramatically changing the construction industry in the 21st century. Due to the constrained site, every piece of this building was manufactured offsite and then transported in a precise order for assembly on-site, i.e. no concrete pour. The hydraulic shifting of the building by a few degrees into a vertical position is an especially jaw-dropping sequence. Watch this episode on YouTube before PBS files a copyright infringement claim here.

4. The Human Scale (2012)
This 2012 documentary is nominally about thinkers, architects, and urban planners discussing ways to increase human interaction in cities but, in particular, The Human Scale (2012) is about Danish architect Jan Gehl’s teaching and research about urbanism over the last four decades. In this, it veers a little too closely sometimes to the ‘myth of the architectural genius’ folie associated with most architectural documentary films. Ignore the hero worship and listen to what is being said about people and cities. There are plenty of common sense ideas and solutions contained in The Human Scale, which makes it must-see viewing for architects and planners.

3. Poynton Regenerated (2013)
This short 15-minute film features urban designer and movement specialist Ben Hamilton-Baillie explaining the existing, seemingly intractable traffic, pedestrian, and land use problems in the village center of Poynton, England. Then, he outlines a new, radical plan for a Shared Space design concept in the village center. Plan implementation and construction is a great success, though not without a lot of skepticism along the way. The film is good at explaining the basic premise of Shared Space, which is if you design for people being stupid, then they will tend to act stupid but if you design for people being smart, they will tend to be smart in self-regulating urban systems. A good measure of this film’s success is the way-out-of-proportion fear it has provoked in reaction. You can watch Poynton Regenerated on YouTube here.

2. The Pruitt-Igoe Myth (2011)
There were several issues (racism, regulatory failures, design and planning flaws, demographics, suburbanization, and so on and so on and so on) involved in the demise of the Pruitt-Igoe Public Housing Complex in St. Louis, Missouri, which led to its famous televised demolition in 1972. This 2011 documentary does a good job covering many of them. The testimony of former residents is enlightening, especially if you listen with a keen ear about their experiences in spatial terms to better understand how architectural design/planning played a role in the social malaise at Pruitt-Igoe. You do need to be careful about the testimony of former residents who were children at the time (in the section titled “Control”). It is clear they were not privy to their parents’ decisions at the time about securing government assistance though it does ably demonstrate how it appeared from the child’s point of view. This 1 1/2 hour documentary is definitely worth the time and demands your attention. You can watch The Pruitt-Igoe Myth on YouTube here.

1. The Social Life of Public Spaces (1980)
This 1980 documentary film written, directed, and starring William H. Whyte (based on his 1972 book of the same name) is still the most important documentary about architecture, urban design, and planning today. Like Jane Jacobs before him, Whyte does something that many people still oddly consider beneath them to better understand how people really use public space. He goes out and watches them. Radical, huh? Does Whyte get everything right? No, but he does get much right, which is more than most architects and planners can claim. You can watch The Social Life of Public Spaces on Vimeo here.

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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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PHOTO ESSAY | Los Angeles Architecture

There are few cities in the world more perplexing than Los Angeles. The reasons are many. The Outlaw Urbanist will take a closer look at some of those reasons in a multi-part, photo essay series. Today, we look at a small selection of Los Angeles architecture. There are hundreds of interesting, even gorgeous historical examples of Art Deco and Modernist buildings in Los Angeles. There are an equal number that can be simply described as curious. The sample in this photo essay is designed to be eclectic rather than exhaustive.

Scottish Rite Masonic Temple on Wilshire Boulevard in Mid Wilshire/Central LA (Photo: Mark David Major).

There is an odd, symbolic symmetry about the impenetrable, foreboding facades of the Scottish Rite Masonic Temple in Mid Wilshire/Central L.A. and the Screen Actors Guild Building down the road on the Miracle Mile. The architectural message could not be clearer: beware to all those who do not belong here (you know who you are).

Screen Actors Guild Building on the Miracle Mile of Wilshire Boulevard in Los Angeles (Photo: Mark David Major).

We interrupt this photo essay for something cool: an example of the classic California Style house or bungalow (depending on your definition of size) and a Modernist residential house, both located a few hundred feet south of Wilshire Boulevard in La Brea.

A classic California style house in La Brea (Photo: Mark David Major).
A Modernist house in La Brea (Photo: Mark David Major).

Based on quantity alone, the prototypical strip mall in Los Angeles has a L-shaped typology. Two-story buildings with double loading (at ground and above) of small retail units, connected by external stairwells and walkways, surrounding a small parking lot (see below). Who would go to L.A. and take photographs of ubiquitous strip malls? Probably only The Outlaw Urbanist. These strip malls have the architectural vocabulary of a proverbial bull in a china shop.

A example of the prototypical Los Angeles strip mall on Wilshire Boulevard in Koreatown (Photo: Mark David Major).

Truth in advertising at the American Cement Company Building (now the Concrete Studio Lofts) on Wilshire Boulevard at the western perimeter of MacArthur Park. Across the street is the ‘tent city’ of the homeless living in MacArthur Park. The homeless problem in Los Angeles might be the worst of any American city I’ve ever witnessed. It is disgraceful the City of Los Angeles/State of California has not capitalized on the ‘tiny house movement’ to tackle the homeless problem. The result is the distinctive urine aroma of MacArthur Park.

American Cement Company Building (now Concrete Studio Lofts) on Wilshire Boulevard in MacArthur Park area (Photo: Mark David Major).

False advertising at the Park Plaza Hotel across the street at the northwestern corner of MacArthur Park in Los Angeles. Everything about this building screams ‘courthouse,’ the building envelope (absent the sculptures) echoes the classical architecture of the Hall of Justice in Downtown Los Angeles. However, the Art Deco building designed by Curlett & Beelman was originally for the Benevolent and Protective Order of Elks as Elks Lodge No. 99. Today, the hotel is a Los Angeles Historic-Cultural Monument.

Park Plaza Hotel in MacArthur Park area of Los Angeles (Photo: Mark David Major).

Pretend deconstructivism in Kohn Pedersen Fox’s facade design for  the Petersen Automotive Museum along Museum Row of the Miracle Mile on Wilshire Boulevard in La Brea, Los Angeles. It is a big red box building with vertical, metal sliding covered by a false ‘piggly wiggly’ facade. The building is dramatic from faraway but extremely disappointing up close, especially the big red parking garage at the back, which creates a blank wall along the long length of a full urban block on South Fairfax Avenue.

Petersen Automotive Museum on Museum Row of the Miracle Mile of Wilshire Boulevard in La Brea, Los Angeles (Photo: Mark David Major).

A common theme of historic buildings in Los Angeles is gorgeous (often Art Deco) high-rise buildings with converted or attached ground level retail units at the base. There is nothing wrong with the impulse but it is often accomplished so poorly (in terms of design) that it is akin to the most beautiful woman who ever lived (BTW, that would be Audrey Hepburn) garishly painting her toe nails like a common street whore. There is a lot of this type of ‘architectural whoring’ going on in Los Angeles.

Art Deco building on Wilshire Boulevard in Koreatown (Photo: Mark David Major).

We conclude this eclectic photo essay of Los Angeles Architecture with some cools things: a ‘green wall’ along the street facade of an Modernist apartment building in Beverly Hills and the Art Deco styling of the building typology for the Observation Pit Building at the La Brea Tar Pits, which was recently reopened after being closed for twenty years.

‘Green wall’ along the street facade of an apartment building in Beverly Hills (Photo: Mark David Major).
Art Deco styling of the building typology for the Observation Pit Building at the La Brea Tar Pits (Photo: Mark David Major).
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PHOTO ESSAY | Downtown Los Angeles

There are few cities in the world more perplexing than Los Angeles. The reasons are many. The Outlaw Urbanist will take a closer look at some of those reasons in a multi-part, photo essay series. Today, we begin with Downtown L.A., which uniquely combines fascination and frustration for any architect, urban designer, and planner with a good conscience.

Downtown L.A. could be incredible urbanism. In fact, it should be incredible urbanism. Instead, it comes across as lazy. Downtown L.A. is alive but not necessarily well. It has ‘good bones’ including some stunning pre-World War II buildings. However, Downtown L.A. desperately needs large doses of TLDC (tender, loving design care), which appears somewhat lacking at the moment.

View along S. Broadway in Downtown L.A. (Photo: Mark David Major).

There were actually a LOT of people in Downtown L.A. on a sunny, warm Sunday afternoon, especially to the south in the Jewelry District. The street level of many buildings has been converted into small, retail units. However, it is haphazardly done for the most part. On one hand, it is good to see the people and retail units. On the other hand, it is such low rent quality that it deters from the innate advantages of the building space above. There are a lot of historic buildings in Downtown L.A. BEGGING for rehabilitation. A few renovations are progressing but not nearly enough. It is deeply frustrating. A lot of the new buildings are design disasters that most often successfully promulgate blank walls in downtown.

Pre-World War II building in the process of renovation (Photo: Mark David Major).
Conversion of ground level entry space into small, low quality retail units at the historic Palace Theater building in Downtown L.A. (Photo: Mark David Major).

Given the history and money surrounding the film industry in Los Angeles, you would think residents and the city would take more care in rehabilitating the plenitude of old historic movie theaters but most often it appears to have been mindlessly done (e.g. Palace Theater above and Los Angeles Theater below) on a ‘cash in’ basis only.

Conversion of ground level entry space into small, low quality retail units at the historic Los Angeles Theater building in Downtown L.A. (Photo: Mark David Major).
Internal street arcade in the Jewelry District of Downtown L.A. (Photo: Mark David Major).

The gorgeous Bradbury Building (below) in Downtown L.A. was designed by Sumner Hunt and designated an architectural landmark in 1977. Its interior and rooftop were the settings for the climatic scenes of Ridley Scott’s science fiction classic Blade Runner (1982).

Bradbury Building designed by Sumner Hunt in Downtown L.A. (Photo: Mark David Major).

The government sector to the north in Downtown L.A. effectively demonstrates the danger of single-use districts. Whereas the Jewelry District was populated and lively on a Sunday afternoon, the government sector was deader than a graveyard, except for the cars racing through the area.

Distant view of the Disney Concert Hall designed by Frank Gehry in Downtown L.A. (Photo: Mark David Major).
View of Los Angeles City Hall in Downtown L.A. (Photo: Mark David Major).

Los Angeles City Hall (above) was the exterior for the Daily Planet in the old Adventures of Superman series from the 1950s. The O.J. Simpson criminal trial occurred in the building to the left in 1994-95.

Hall of Justice in Downtown L.A. (Photo: Mark David Major).

The Modernist building where the Los Angeles County Department of Regional Planning is housed in the government sector has a plaza attached to it, working hard at being as empty as the day it first opened, no doubt. The ironic symbolism seems appropriate.

Modernist plaza attached to the Administration building containing the Los Angeles County Department of Regional Planning in Downtown L.A. (Photo: Mark David Major).
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