The automobile, the effects of the Modern Movement in architectural design, urban-renewal and zoning policies, the dominance of private over public interests, as well as changes in land use in the inner city have resulted in the loss of values and meanings that were traditionally associated with urban open space. This text offers a comprehensive and systematic examination of the crisis of the contemporary city and the means by which this crisis can be addressed. Finding Lost Space traces leading urban spatial design theories that have emerged over the past eighty years: the principles of Sitte and Howard; the impact of and reactions to the Functionalist movement; and designs developed by Team 10, Robert Venturi, the Krier brothers, and Fumihiko Maki, to name a few. In addition to discussions of historic precedents, contemporary approaches to urban spatial design are explored. Detailed case studies of Boston, Massachusetts; Washington, D.C.; Goteborg, Sweden; and the Byker area of Newcastle, England demonstrate the need for an integrated design approach--one that considers figure-ground, linkage, and place theories of urban spatial design. These theories and their individual strengths and weaknesses are defined and applied in the case studies, demonstrating how well they operate in different contexts. This text will prove invaluable for students and professionals in the fields of architecture, landscape architecture, and city planning. Finding Lost Space is going to be a primary text for the urban designers of the next generation. It is the first book in the field to absorb the lessons of the postmodern reaction, including the work of the Krier brothers and many others, and to integrate these into a coherent theory and set of design guidelines. Without polemics, Roger Trancik addresses the biggest issue in architecture and urbanism today: how can we regain in our shattered cities a public realm that is made of firmly shaped, coherently linked, humanly meaningful urban spaces? Robert Campbell, AIA Architect and architecture critic Boston Globe

    In this new edition, she describes in a new final chapter the extraordinary and monumental rebuilding of the borough by the grass-roots groups that was just getting underway in 1984. The original book was hailed as a vivid history of the Bronx from its origins as colonial farmlands to the borough's 1980s status as one of the nation's foremost urban disasters. The book tells the colorful story of the Bronx, starting with its development as a New York suburb and boomtown when hundreds of thousands of German, Irish, Italians, and above all, Jewish immigrants flowed into the borough to raise their families.Franklin Delano Roosevelt, assisted by his powerful lieutenant, Boss Ed Flynn, built vast Democratic majorities in the polyglot Bronx into political domination of New York and the nation. After World War II, the Bronx underwent its second boom, beginning with emigrants from Puerto Rico and blacks displaced from Manhattan. On their heels came the camp followers of modern urban poverty: drug dealers, real estate pirates, arsonists. By the mid-1970s the Bronx was burning. Block after block, once given over to working- and middle-class family life, was now utterly destroyed, abandoned, given up on. The teeming, populous Bronx had turned into an American urban desert.This borough, which in its heyday had produced such notable Americans as Clifford Odets, Paddy Cheyefsky, Lauren Bacall, Herman Wouk, Jules Feiffer, Jake LaMotta, Stanley Kubrick, E.L. Doctorow, Neil Simon, and Tony Curtis, now lay in ashes, visible to us mainly as a dreadful object lesson.Yet change was in sight. Even while the worst destruction was taking place, new forces were rising to set aside or remake the tired machinery of government, allying such institutions as the Catholic Church, insurance companies, and dedicated non-profits to rally the Bronx and turn the tide of urban thinking. In her new final chapter, Dr. Jonnes describes the triumph of the grass-roots groups as they fulfilled their great dream of rebuilding these devastated neighborhoods.

    Signs of life and care for the environment abound. Innumerable social and physical clues communicate to visitors and residents alike a sense of home and neighborhood. This is a place that people are proud of, a place that children will remember in later years with nostalgia and affection, a place that just feels "good." Contrast this with Southside Village. Something does not feel quite right. It is hard to find your way about, to discern which are the fronts and which are the backs of the houses, to determine what is "inside" and what is "outside." Strangers cut across what might be a communal backyard. There are no signs of personalization around doors or on balconies. Few children are around; those who are outside ride their bikes in circles in the parking lot There are few signs of caring; litter, graffiti, and broken light fixtures indicate the opposite. There is no sense of place; it is somewhere to move away from, not somewhere to remember with pride. These are not real locations, but we have all seen places like them. The purpose of this book is to assist in the creation of more places like Green Acres and to aid in the rehabilitation of the many Southside Villages that scar our cities. This book is a collection of guidelines for the site design of low-rise, high-density family housing. It is intended as a reference tool, primarily for housing designers and planners, but also for developers, housing authorities, citizens' groups, and tenants' organizations-anyone involved in planning or rehabilitating housing. It provides guidelines for the layout of buildings, open spaces, community facilities, play areas, walkways, and the myriad components that make up a housing site.

    But let us beware of American architects!" declared Le Corbusier, who like other European architects of his time believed that he saw in the work of American industrial builders a model of the way architecture should develop. It was a vision of an ideal world, a "concrete Atlantis" made up of daylight factories and grain elevators.In a book that suggests how good Modern was before it went wrong, Reyner Banham details the European discovery of this concrete Atlantis and examines a number of striking architectural instances where aspects of the International Style are anticipated by US industrial buildings.