Tag Archives: The Outlaw Urbanist

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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Architecture, Editorial, Mark David Major, Poor Richard, Urban Planning

More Poor Richard | Part 3

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More Poor Richard, Part 3
by Dr. Mark David Major, AICP, CNU-A, The Outlaw Urbanist contributor

Courteous Reader,

I attempted to win your favor when I wrote my first Almanac for Architects and Planners, in the name of the public good and professional betterment, by way of earning some profit and a wife. I am gratified by your expression of encouragement for my tireless efforts dedicated to these aims. Alas, my circumstances still find me exceedingly poor and, unluckily, exceedingly wifeless. I am required to earn some profit to address both problems whilst now addressing a third, namely testing the proposition that insanity is “doing the same thing over and over again and expecting different results.” To satisfy my own particular brand of insanity, I have written more proverbs and whimsical sayings for your benefit and, hopefully, my own.

As before on The Outlaw Urbanist, I write this new Almanac in increments of ten, according to the dictates of Moses and the Almighty. However, once published as an Almanac for Architects and Planners, the proverbs and witticisms were gathered into a number equal to the days of the week, after being reliably informed that both seven and ten are sacred numbers. My desired requirement for a wife is sufficient motive to write this new Almanac in the hope it will find your favor and retweets as a means of demonstrating the usefulness of my continued efforts but also your charity to this sane Friend and poor Servant,

Richard

On Creating and Creativity

21.       Planners with 20/20 foresight are more valuable than those with 20/20 hindsight.

22.       Organisms are machines for living. When it comes to creating machines, Nature is still infinitely superior to Man.

23.       Man assumes a God-like artifice compared to the machines he creates but, compared to the Nature of the Universe, Man is an ant.

24.       A little humility before Nature goes a long way.

25.      Creativity is a newly (re)discovered path that is often more important than the destination itself.

26.       Creativity and space flow with an energy born from the same source.

27.       For any true artist, a blank page is exciting and frightening in equal measure.

28.       Creativity is the vibrant symbiosis of courage to succeed and fear of failure. Too often, urban planners suffer from an abundance of the latter and deficiency in the former.

29.       Shame on the architect who does not design with love and builds that which is unloved by its own creator.

30.       For an architect or planner, doubt only marks the beginning of a path to wisdom. Doubt only marks hubris if it is treated as a destination unto itself. Take the path and never assume you have arrived.

Issue 4 of More Poor Richard for Architects and Planners cometh soon!

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Editorial, Mark David Major, News, Press

The Splenda Housing Market | To Be or Not to Be

To Be or Not to Be: The Splenda Housing Market
by Dr. Mark David Major, AICP, CNU-A, The Outlaw Urbanist contributor

UrbanLand reports we finally have a ‘real’ housing recovery (see below). Trulia Trends and The Atlantic Cities report housing prices are recovering at a more rapid pace in urban neighborhoods than in the suburbs (see below). However, CNN/Money and AOL Real Estate report McMansions of suburbia are making a comeback (see below) based on recent Census data instead of national homebuilder ‘wish fulfillment’ surveys (see The Outlaw Urbanist January 24, 2013 post, “McMansions Return“). Other media outlets are reporting an explosion in rental apartment construction. What gives?

Welcome to a Splenda Housing Market, where the modus operandi is a saccharine high of easy money, taxpayer-funded bailouts, and manipulated markets!

• The Fed continues to pump easy money into the economy at a rapid rate through its bond-purchasing program called Qualitative Easing (what number are we on now?). Despite what Paul Krugman and the American government tell you (“we only measure inflation on things people don’t want to buy”), there are real inflationary pressures out there, which are transmitted into every facet of the American economy including housing. The evidence lies in the year-to-year increase in housing prices from 2011 to 2012. The appreciation of property values in the Trulia Trends report range from 7.3% in New York to an astounding 33.8% in Las Vegas! This is patently unsustainable and highly suspicious.

• Eager to return to the “good, old days” as quickly as possible, realtors and landlords are shamelessly inflating prices for home/property and monthly rents to a level far above their real value, especially in light of the next item.

• The banks have a huge amount of inventory of foreclosed homes on their books, the majority of which lies vacant and withheld from the housing market. What does it mean? Housing prices never reached their true floor.

• For every home foreclosed, the banks not only get the home but also file an insurance claim on the mortgage debt, usually with AIG (i.e. the American {Insurance} Government). What does it mean? The banks get to have their cake courtesy of dispossessed homeowners and they get to eat it too funded by American taxpayers by double dipping on the value of the home and the mortgage.

• As home/property values continue to appreciate at a steady pace, the banks will systematically release their massive inventory onto the market to capitalize on rising housing prices. What does it mean? The value of your home/property is artificially suppressed as increased inventory enters the market;

• The longer home/property values appreciate and the more inventory released on the market by the banks, then the more the initial gain in the recovery rate of housing prices in urban neighborhoods touted by The Atlantic Cities and others will evaporate. These stable, urban neighborhoods tended to be the last to experience the crashing wave of falling housing prices during the Great Recession, so naturally they are the first to recover their real value. However, this is an ephemeral comeback for urban neighborhoods. The longer the Splenda Housing Market is in effect, then the more attractive becomes cheap land at the periphery of our cities and the ‘old way’ of doing things. Welcome back, suburban sprawl! We hardly could stand you the first time around!

What does it mean for you? The long and short is this: unless you possess the equity at hand to pay cash for a property/home now, then you’re totally screwed. Too bad, suckers. Remember friends: the only reason the shit rolls downhill is because of who is squatting at the top and taking a dump.

Excerpt from June 27, 2013 article, “Housing Recovery Strengthens, but Credit Remains an Issue” by Bendix Anderson on UrbanLand:

“The housing sector is finally helping the U.S. economic recovery, rather than holding it back. But more Americans than ever now spend more than half their income on housing, according to The State of the Nation’s Housing 2013, a report released June 26 by the Joint Center for Housing Studies (JCHS) at Harvard University. “Clearly, we are in a strong housing recovery now,” said Eric Belsky, managing director of JCHS.

Read the full article here: Housing Recovery Strengthens, but Credit Remains an Issue | UrbanLand.

Excerpt from June 25, 2013 article, “Home Prices Rising Faster in Cities than in the Suburbs – Most of All in Gayborhoods”by Jed Kolko on Trulia Trends:

“Here’s the punch line: urban neighborhoods had faster price growth in the past year, while suburban neighborhoods had higher population growth. The median asking price per square foot was up 11.3% in urban neighborhoods, versus 10.2% in suburban neighborhoods. (The overall national increase, including urban and suburban neighborhoods, was 10.5%.) But despite faster price growth in cities, the suburbs are where people are moving: suburban neighborhoods had faster population growth than urban neighborhoods did, 0.56% versus 0.31%.”

Read the full article here: Home Prices Rising Faster in Cities than in the Suburbs – Most of All in Gayborhoods | Trulia Trends.

Excerpt from June 5, 2013 article “McMansions Are Making a Comeback” by CNN/Money on AOL Real Estate:

“As the economy recovers, America’s love affair with the oversized McMansion has been reignited. During the past three years, the average size of new homes has grown significantly, according to a Census Bureau report released Monday. In 2012, the median home in the U.S. hit an all-time record of 2,306 square feet, up 8 percent from 2009.”

Read the full CNN/Money article here: McMansions Are Making a Comeback | AOL Real Estate.

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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

Vertical Geometries | The City in Art

Paul Klee’s Castle and Sun (1928), 50 x 59 cm, oil on canvas, Private Collection/Giraudon/The Bridgeman Art Library.

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

Today’s issue of The City in Art returns to another innovative painting by the Swiss artist Paul Klee. The striking image Klee creates in Castle and Sun (1928) uses different geometric shapes and various shades of color, similar to the previously seen Klee’s Highways and Byways. The lone sun shines in the ingeniously designed sky with strong lines and the structure of the geometric shapes defining the castle/city. In addition, various rectangular sizes add depth to the abstract image. The complex and contrasting use of colors by Klee in this painting – in combination with the varying sizes of shapes – provides a subtle illusion of depth, independently of any proper perspective in gross terms otherwise lacking in the two-dimensional plane of the canvas. Klee executes the cubism technique of this painting in his patented style. The painting possesses a mix of the abstract with reality while figures are deconstructed to form interesting geometric shapes. The clay colored background gives a clearer sense of how the shapes seem to form a city skyline of intense color and light. Klee uses pops of yellow to bring the eye in and break up the browns everywhere else. This oil on canvas painting has a complex array of triangular figures to provide an imaginary metropolis of shapes. The touch of realism, angles, and its use of color creates a city of geometric shapes. Paul Klee’s imaginary works continue to inspire and intrigue (Source: Totally History). Klee’s Castle and Sun, in particular, is regularly used by teachers for early education in artistic technique. At that age, school children (and perhaps their teachers) are unaware of the subtly complicated and innovative beauty of this painting by Klee.

About Paul Klee
Paul Klee (1879–1940) was born near Bern, Switzerland. He studied drawing and painting in Munich for three years beginning in 1898. By 1911, he was involved with the German Expressionist group Der Blaue Reiter (The Blue Rider), founded by Wassily Kandinsky and Franz Marc. In 1914, Klee visited Tunisia. The experience was the turning point. The limpid light of North Africa awakened his sense of color. Klee gradually detached color from physical description and used it independently, giving him the final push toward abstraction. In 1920, Walter Gropius invited Klee to join the faculty of the Bauhaus. Nearly half of Klee’s work was produced during the ten years he taught at the Bauhaus. From 1931-1933, Klee taught at the Academy of Fine Arts in Düsseldorf. When the National Socialists declared his art “degenerate”, he returned to his native Bern. Klee suffered from a wasting disease, scleroderma, towards the end of his life, enduring the pain until his death in Muralto, Locarno, Switzerland, on June 29, 1940 (Source: Metropolitan Museum of Art/Wikipedia).

Visit the Artsy.net Paul Klee page here.

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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