Tag Archives: The City

Mark David Major, On Space, Phenomenology, Philosophy

On Space | The Emergent City

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

Urban space possesses both geometric regularity and probabilistic structure. This embeds the space of the city with variables of formal determinism and informal post-destination. The word ‘city’ is insufficient to express its true nature, requiring both prefix and suffix to signify its didactic beingness in the world as a thing. It is heart and soul united in one body, an urban Trinity possessive of the past, present and future. It is a holy act when we build a city. As a living organism, the city does not require legal interpretation but scientific diagnosis. It needs to be understood in terms of the probabilistic object instead of as a container of dogmatic theory. Only then can we forecast and intervene in the object with confidence and purpose. It needs to be studied, more so understood, even engendering an empathic response from the observer of the observed. When we say a city has a spatial layout, we mean it is composed of physical certainties such as buildings and blocks in a plan, and configured of spatial probabilities embedded within the plan of the city (its streets, its square, its parks). One tends to be imposed whilst the other tends to emerge. We can describe these physical certitudes and spatial probabilities in Cartesian dimensions – length, width, and breadth – and even across time. We can also describe them in configurational dimensions: depth, connectedness, and control. What emerges is the ubiquity of centrality and linearity in the urban object, the nature of being in closeness to the other and being is movement towards to/away from the Other. It is everywhere at once, exhibited in the past of the city and speeding the urban object towards its future even as constantly manifested in the present tense: been, being and becoming always.

What is also revealed in this emergence is the importance of magnitude, a multitude of scales at which the space of the city is used, read, and interpreted by all in movement and occupation of the urban object. Size is seemingly an easy thing to understand, having a quantifiable Cartesian measure. However, it is poorly understood, or worse purposefully ignored. The size of thing matters in the blending of streets and blocks, in either compacting or elongating the structure across space and time. It is a key attribute of the city that embeds the object with certain significations, of time or money, of interaction or seclusion, of the wants of Self or the collective being of the whole. We are revealed in the urban object, our wants and desires, our fears and trepidations, our dogmas and ignorance, of our wondrous beauty and horrific ugliness. The nature of the city is human nature. We build, therefore we were. We arrange, therefore are. We intervene, therefore we will be. The tapestry that emerges denotes of the fabric of human life, characterized by lines of communication, meshes of networks, and patches of community. Only then will we discover that we all dwell in the same neighborhood, we are irrevocably connected, and conflict only emerges from the denial of these basic tenets of existence in the city. We are the tenants and we are the landowners. The portrait painted tells the same story: the city and we are One.

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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Mark David Major, On Space, Phenomenology, Philosophy

On Space | Antecedens est Precedent

On Space | Antecedens est Precedent
by Dr. Mark David Major, AICP, CNU-A

The premise is precedent. Space is not a neutral field against which the societal is randomly played out. Space is more than a mere reflection of independent and discrete socio-economic and cultural variables. It is a living organism, constructed piece-by-piece as a machine for living, seeing, and being that has achieved its own particular form of consciousness, a spark of life more than the sum of its parts and more than the parts contributing to the Corpus Spatium. For too long, knowledge of space has been characterized by apathy, obscurely a superficial reaction against the heroic Modernists but really a deep, substantive fear of constructing knowledge and understanding, of releasing inhibitions that continue to reward failure, keeping food on the table as opposed to providing nutrition for the soul. The hypocrite’s feast is the city’s famine. Knowledge has been stagnant, without evolution, to the point where the vocal heretics now call for revolution. Space is both dependent and independent, a variable mixture of cause, effect, and react that demands our evaluation and our respect. Without so, we diminish the most valuable commodity the city has to offer, in exchange for our empathy it can provide rewards beyond imagining, of happenstance and serendipity, of casual encounter, of formal beginnings, and a lifetime of companions to share the journey with us.

When we view the space of the city as a neutral variable, we devalue the beingness of the city as an object of analysis and curiosity. Our knowledge becomes tainted with a paralysis that is both confiding and liberating, imprisoned within dogma and freed of moral or ethical consequences. The game is played with the chess pieces but the board sets the parameters of the rules. Our cities thus have become lawless, without rules catering to the urban object but in service to the greed of the self. When we view the space of the city as isotropic, we artificially impose uniformity where it does not manifestly exist. We attempt to impose rather than derive meaning from city places. It is a fallacy. We inflate the importance of individual action and deflate the status of collective significance without really comprehending either whilst the kinetic and potential energy of urban space becomes lost in a primordial soup of fashionable theory. Actuality and potentially are ignored at its peril, and we become lost in a uniform monstrosity of development patterns that ‘follow the rules’ but want for a logical existence. When we view the space of the city as mere reflection we judge through a mirror darkly. We assign a value lacking any quantity. We concede quality without calculation. The city more than reflects, it embodies. It consumes and births, it is nurture and nature surely melted, an elegant synthesis of meaning where past and future are simultaneously read and written into a spatial harmony. The space of the city is a systematic thing and we are the blood coursing through the veins of its streets, both sustaining of and existing at its heart. There is a logic to its arrangement and an organization to its reason for being. Space is alive and lives within and without in the city. Antecedens est, est exemplum.

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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Mark David Major, On Space, Phenomenology, Philosophy

On Space | The Geometrical City

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

The geometrical city exists in and across time and space, a quantitative and describable pattern finitely persistent in its stability and infinitely malleable in its qualitative flexibility. The spatial geometry of the city flows, never halting and without beginning, it merges together into an intricate network of limitless possibilities and strategic offerings that guide the weary traveler to his destination. It is a tradition rooted in the instinctive nature of our being, stretching back into shadowy mists of the past and striding forward into the enchanted light of a promised future, bounded by the essential truth of living on a tiny sphere floating, awashed at the edges of a universal shore. The geometric city is the hearth of the community, the fertile land gathers around it, providing both sustenance to and sustaining from the urban ideal. At its center lies a sacred space, a place to gather for all, where insider and outsider mingle and exchange freely of their valued time and goods. This is the true Pilgrims’ pride of America, that which can be independently traced to worlds and cultures of Antiquity from east to west, south to north, following the path we emerged from African jungles to cross plains and rivers, the mountains and oceans. The geometrical city is the economy of the community, goods and services are exchanged in space and carried forth into the larger, unfamiliar world. It welcomes and reassures, it is questions with answers, offering solvable riddles to the observant and the observed.

19th century America represents the urban fruition of a geometrical order, a full expression of the possibilities for street, block, square, and plan in the geometrical city. In the virgin land of this milieu, the geometrical city attains its Renaissance ideal, ultimately a Spanish model of the rational city, relentless in its magnificence as a tapestry, woven by individual hands into a common entity, holistic and worthy of an ancestral past from which it sprouted. Until, at last, radial parts emerge from within or reach forth from center-to-edge to bring a structural wonder to the urban spectacle. The formal and informal, planned and unplanned, coincide in the spatial beauty of the rationally urbane, all shaped within a Jeffersonian framework leaving marks on the landscape to this day. 20th century America demands the ruination of the geometric city in its heedless pursuit of state control and private profit; the faceless bureaucrat and masked capitalist hidden beneath self-serving rubrics, all in the name of an artificial (public and personal) welfare, which taunts the instinctive nature of urban dwelling. Stability is exchanged for unpredictability, the malleable for the rigid, the persistent for the ephemeral, and a natural pattern for the awkwardly contrived forever haunted by an unnatural entropy. It is a doctrine that demands more and more at the expense of less and less (quantity and cost) whilst ignoring the concept of the better and the best (quality). It becomes an irrational anti-city.

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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Art, Essay, The City in Art

Algorithmic Space | The City in Art

Don Relyea’s Cityscape with Helipads and Ladders (2011), www.donrelyea.com.

“They don’t know what you’re doing, Babe, it must be art.”
– Hold Me, Thrill Me, Kiss Me, Kill Me, U2

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

Don Relyea’s Cityscape with Helipads and Ladders (2011) uses an algorithm based on the Hilbert space filling curve, discovered by mathematician David Hilbert. The version of Relyea’s program subdivides spaces within the total space to be filled and runs the algorithm to fill the smaller spaces separately. Each smaller space is centered on a point on the curve causing the smaller renderings to intersect the larger one in interesting ways. The program recursively draws rectangles along the curve. At certain times during the execution, it draws larger concentric rectangles and connects special points with trailed concentric rectangles (Source: www.donrelyea.com).

I am not even going to pretend to understand the mathematics of what Relyea is describing, except in only the vaguest sense. I’m sure Dr. Nick “Sheep” Dalton and Dr. Ruth Conroy Dalton would understand the mathematics of Relyea’s generative algorithm, and I will get them to explain it to me the next time I see them. For those interested in the mathematics of the algorithm, there is more information available here. However, purely in terms of art, Relyea’s generative algorithm appears to capture something of the “organized complexity” of the city, which is, no doubt, why Relyea decided to appropriately title his computer-generated art series as “cityscapes”. In addition to this generative complexity, Relyea’s prints also capture something of the repetitiveness of city space, which Relyea varies through his use of color (see the entire series to date here). It is suggestive there are more practical applications for his generative algorithm in urban modeling and science, beyond that of generating complex shapes for artistic reasons. However, based purely on artistic terms, the result is a compelling abstract image of repetitive complexity.

About Don Relyea
Don Relyea graduated from Southern Methodist University in 1992, where he was a print making major and information systems major and a merit scholarship student. He lives and works in Dallas Texas USA with his wife and three kids. Upon graduation, Relyea immersed himself in the multimedia software industry producing video and interactive CD content and eventually games for publishers and clients. In the multimedia industry, he developed a love for programming graphics on computers and now produces art in several media both traditional and digital. Relyea focuses in the area of computational art. He writes his own custom art software in C++ and Open GL. Many of the programming techniques Relyea learned in game development he now employs with his art, primarily producing prints and video art. He often weaves cultural, social and political dimensions into his work. Nature and mathematical forms are also common subjects. His print and video work have been in exhibited in galleries and juried exhibitions all over the United States. Recently, Relyea’s video art has been installed outdoors in curated/juried shows in Oslo, Norway, The Hague, the Digital Graffiti Festival at Alys Beach Florida, W hotel in Seoul Korea and International Free Exchange Zone in Incheon Korea (Source: www.donrelyea.com).

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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FUBAR Absurdities, Mark David Major, Rants, Satire

Planning | Stopping Stupid People from Killing Themselves | AbFab

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“I was just trying to do my best, trying to get from A to B, do a little shopping. I was trying to take control of my life…” – Edina Monsoon

Sunday’s Boston Globe article “The too-smart city” by Courtney Humphries reminded me of one of my favorite and funniest (implicit) critiques of urban planning: Edina Monsoon’s “Tax the Stupid People” rant from a 1994 episode (“Poor”) of Absolutely Fabulous. I thought I would post it for your amusement because sometimes we all need a reminder and laughter about the absurdities of life. The first time I saw this I was in tears from laughing so hard, especially once Patsy interjects her opinion.

No doubt the reason I found this rant so funny was, having lived in London for 8 years, the thought did cross my mind on more than one occasion that the purpose of the railings along Oxford and Regent Streets (and others) was, indeed, to prevent stupid people from running into traffic and getting killed. Of course, this is not the case. Instead, the purpose of the railings is to corral pedestrians on the sidewalk in areas with high foot traffic (like pigs in a pen) so the majority of street space is reserved for automobile traffic. London’s railings are fundamentally anti-pedestrian, pro-automobile planning measures. God forbid if pedestrians occupy more of the street space for their use to the detriment of keeping traffic moving! So, the real purpose of the railings was to prevent stupid drivers in 5-ton death machines from killing pedestrians, awarding ‘exclusivity’ of street space to these drivers when we should be slowing the traffic down in deference to pedestrians. In the late 1990s, London has begun to learn and adjust to this lesson. When I visit London (hopefully) sometime in the next 4-6 months, I’m eager to see for myself how far they have taken the lesson over the last decade. I like to think Eddie’s satirical rant played a small role in changing the dynamic.

A more complete transcript of Eddie’s rant in her audacious – but ultimately doomed – attempt to evade a parking ticket is below.

Eddie: Right – I, the proposed accused, think that, well, I mean, you know, well the day in question was not a good day for me, all right? But I put it to you that I don’t see how any day could have been good the way this bloody country’s run. Well, you know, I was just trying to do my best, trying to get from A to B, do a little shopping. I was trying to take control of my life, you know, only to find that it’s actually controlled for me by petty bureaucracy and bits of bloody paper – ignorant bloody petty rules and laws that just obstruct every tiny little action until you’ve committed a crime without even knowing it! I mean, you know, why can’t life just be made a little easier for everybody, eh? Why can’t it be more like the Continent, and then run down the street in front of charging bulls whilst letting fireworks off out of his bloody nostrils without anyone blinking an eye? Uh? Because it’s probably a local holiday and nobody’s at work because they all want to have just a little bit of fun and they’re not intimidated by some outdated work ethic. I mean, there has to be more to life than just being safe…

Judge: Is there a point to all of this?

Eddie: Yes, Yes!… Why, oh why, do we pay taxes, hmmm? I mean, just to have bloody parking restrictions- and BUGGERY-UGLY traffic wardens, and BOLLOCKY-pedestrian-BLOODY-crossings?… and those BASTARD railings outside shops windows, making it so difficult, so you can’t even get in them! I mean, I know they’re there to stop stupid people running into the street and killing themselves! But we’re not all stupid! We don’t all need nurse-maiding. I mean, why not just have a Stupidity Tax? Just tax the stupid people!

Patsy: And let them DIE!

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