But this sense of wholeness is lacking in modern urban design, with architects absorbed in problems of individual structures, and city planners preoccupied with local ordinances, it is almost impossible to achieve. In this groundbreaking volume, architect and planner Christopher Alexander presents a new theory of urban design which attempts to recapture the process by which cities develop organically. To discover the kinds of laws needed to create a growing whole in a city, Alexander proposes here a preliminary set of seven rules which embody the process at a practical level and which are consistent with the day-to-day demands of urban development. He then puts these rules to the test, setting out with a number of his graduate students to simulate the urban redesign of a high-density part of San Francisco, initiating a project that encompassed some ninety different design problems, including warehouses, hotels, fishing piers, a music hall, and a public square. This extensive experiment is documented project by project, with detailed discussion of how each project satisfied the seven rules, accompanied by floorplans, elevations, street grids, axonometric diagrams and photographs of the scaled-down model which clearly illustrate the discussion. A New Theory of Urban Design provides an entirely new theoretical framework for the discussion of urban problems, one that goes far to remedy the defects which cities have today.

    In this comprehensive treatment of the relation of knowledge to action, which he calls planning, he traces the major intellectual traditions of planning thought and practice. Three of these--social reform, policy analysis, and social learning--are primarily concerned with public management. The fourth, social mobilization, draws on utopianism, anarchism, historical materialism, and other radical thought and looks to the structural transformation of society "from below." After developing a basic vocabulary in Part One, the author proceeds in Part Two to a critical history of each of the four planning traditions. The story begins with the prophetic visions of Saint-Simon and assesses the contributions of such diverse thinkers as Comte, Marx, Dewey, Mannheim, Tugwell, Mumford, Simon, and Habermas. It is carried forward in Part Three by Friedmann's own nontechnocratic, dialectical approach to planning as a method for recovering political community.

    An erudite and impassioned guide, Montalban finds a controversy in every building, a story in every street, illuminating the city’s rich history and turbulent politics, its art, gastronomy and football. There are many Barcelonas, and Montalban knows them all: the lavish art-nouveau houses in Vallvidrera where he himself lives; the labyrinthine squalor of the Barri Xino, setting for Genet’s Thief’s Journal; the Barri Gotic where the independent Catalan Kingdom between the eleventh and fifteenth centuries created a nationalist consciousness which has endured for half a millennium; the oneiric Parc Guell, designed by the city’s most celebrated architect, Antoni Gaudi.But this definitive survey is one unlikely to be endorsed by the Oficina de Turismo. For Montalban is fiercely critical of the values of the new ‘Olympic’ Barcelona: the misery of the inner-city slums where one person dies every second day from a heroin overdose; the speculation which has compounded overcrowding in a metropolis with the highest population density in Europe; the ravaging of working-class suburbs to make way for an aseptic international centre. Once Europe’s most utopian city, Barcelona, he argues, ‘has become a market, and everything is up for sale’.For visitors, Barcelonas will prove a stimulating, indispensable companion. And for everyone interested in art and architecture, politics and sport, it will provide an enthralling introduction to the great European city.