Diana Lind

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Control the Masses

Architect Magazine, January 2010

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Andrés Duany is souring on what he sees as excessive, obstructionist community engagement in urban planning. At an event last year, the co-founder of New Urbanism complained of “an absolute orgy of public process” In the U.S.: “Basically, we can’t get anything done.” Is there a place anymore for bottom-up planning?

By: Diana Lind

Public engagement in the community planning process is a relatively new phenomenon. Is it good evidence of American democracy in action or of public skepticism about the planning profession?

Urban planning with public participation has not always existed, nor has it been deemed necessary. Even 50 years ago, planners were still considered demigods. They had reformed cities to be beautiful, healthier, cleaner, and more stable. Planners had done more for public health than doctors. By making lives much better, they had come to be trusted by the people.

For example, take John Nolen, whose small office delivered hundreds of city plans in the 1920s. How did he do so much? San Diego is an example. He visited the city for a couple of weeks, spoke to whomever he needed to, then got back to Boston, prepared the documents, and mailed them back to San Diego, and … it was implemented over the years.

In the 1950s, planners were still considered so trustworthy that when they had that towers-in-the-park idea, they could flick their hand and get an entire neighborhood demolished. But those inner-city plans became socially toxic almost immediately, and as the suburban promise was betrayed, confidence in top-down planning evaporated.

Participatory planning rose out of that disappointment. It wasn’t just the result of Jane Jacobs versus Robert Moses—it was categorical, a nationwide insurgency by people who had never heard of those two.

The Congress for the New Urbanism has popularized the charrette as a process. Where does it fit into the range of civic engagement?

Bottom-up avoids the big mistakes of top-down planning, but it is quite inefficient. New Urbanism merges the virtues of top-down and bottom-up planning, combining the principles of its charter and the participation through the charrette. This is something new. The planner adjusting principles to local circumstances is a system that has now worked very well indeed hundreds of times.

But we seem to be reaching a tipping point now where municipalities will give up on engaging the public because it’s gotten too time-consuming and too expensive.

We were involved in Miami 21, a citywide charrette. That process was bottom-up and required convincing everyone concerned. It cost millions of dollars and took four years. It was a magnificent result and the most comprehensive such effort by any big city, but it will probably not be repeated. The economy has changed all that.

While the New Urbanist system may work well, it is also expensive. To mount a charrette requires those rare, highly skilled professionals that can speak to regular folk, think clearly, and draw quickly. Charrettes can cost $300,000. We need to get the cost down to $50,000.

The other complaint you’ve voiced is that NIMBYism has become too obstructionist. Is there a better way to get public participation in the design process without a project falling prey to local interests?

Conventional public participation makes the mistake of privileging the neighbors, the people who live within a half-mile of the given proposal. So it becomes extremely difficult to, say, locate a school or an infill project. While democracy doesn’t need a great number of voters to function well, it does require a full cross-section to participate. That is the source of its collective intelligence. You can’t confuse neighbors with the community as a whole.

We propose using the jury pool or the phone book to invite a random group, which is then understood to be apart from the self-interested neighbors, just as the developer or the school board are acknowledged as vested interests. The neighbors must be seen as vested interests as well.

But how are municipalities going to be able to make big decisions?

If you can’t build a bike path or lay a power line that connects to the new solar energy farm, then you can’t engage in the 21st century. We have also been developing the concept of subsidiarity, the design of decisions: what issue, by which people, and when.

The region makes decisions about heavy infrastructure, the neighborhood decides about traffic, the block makes decisions about parking, the household makes decisions about its building, and the individual makes decisions about the bedroom. The smallest group at the latest point in time that can competently make a decision—that is subsidiarity. Thus we’re evolving participatory planning towards a more intelligent democracy.

A lot of architects are working in China, which doesn’t have much of a public process to speak of. Should we copy their model?

It’s much easier to get things done there. But they’re also making terrible mistakes. The outcome of their planning is generally awful and provides evidence that you need some sort of public participation.

But if you want to be cynical about it, the West will benefit from sending over all those irresponsible designers who are screwing up their quality of life. China will become an undesirable place to live. In the future, their best talent will choose to live in San Francisco or Seattle. It is poison-pill planning. The CIA couldn’t do better.

Mentors and Guts Keep a Young Architect Flying Solo

Architectural Record, January 2007

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Christian Wassmann is wondering whether or not to sign a new lease. In Manhattan, with its breathtaking rents, this is no small decision. While getting the extra office space would give him more room (Wassmann and his project-basis employees are used to working in an office carved out of his apartment), it could also force him to take on some work he’d otherwise have the luxury of passing up. If this is the first growing pain for a young architect who has seamlessly transitioned from project architect for Steven Holl to principal of his own practice, it’s not so bad. Only 32 years old, Wassmann has a pedigree that explains his success. After moving to the United States from Switzerland, he began working for Steven Holl because Holl was (and still is) his favorite architect. He has also worked on side projects with another master of American design, artist Robert Wilson, for 10 years. Read more…

Little Ram Island House

Architectural Record,

When Bill Pedersen, FAIA, co-founder and principal design partner of Kohn Pedersen Fox, bought a three-acre piece of land on Shelter Island, New York in 1981, “Things were a little different on the island,” he wryly recalls. He means that one could buy a waterfront plot with views of Long Island Sound and Coecles Harbor without the excessive fanfare or money that nowadays accompany real estate purchases. In the intervening years, the island has grown more expensive to live on and crowded with visitors during the summer, but Pedersen has created a residence that, nested in the earth and angled to create uninterrupted views of nature, is protected from those changes. Read more…

Looking Up — Sarah Morris: Robert Towne

Architect's Newspaper, 2006

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Sarah Morris’s art is touted for its allusions to and interpretations of the urban environment. With deft mimcry of the grids found in cityscapes, her Midtown series of paintings (1998-99) recall the green-glass-windowed facades of a Gordon Bunshaft building. She followed these up with the series Los Angeles (2005-06), in which her Mondrian-like abstractions were more frantically paced and garishly colored, referencing architectural icons in Los Angeles.
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the-kids-are-listening.mp3

Podcast created in 2007 with Sarah Kramer. 
Winner of the 2008 ACLU Stand Up for Freedom contest.

Joe and Lucianne Carmichael were thinking green even before Hurricane Katrina. As the owners of A Studio in the Woods (ASITW), an artists center southeast of New Orleans, they have lived in the bottomland hardwood forests for 30 years using minimal energy resources. They rarely use air conditioning, even during humid Gulf Coast summers, and they always line-dry their clothes. The Carmichaels’ goal is to provide a retreat where artists can hone their craft—and give a lesson in living with nature. “The highest guiding principal of A Studio in the Woods is the opportunity to learn,” Lucianne says. Read more…

It’s every architect’s fantasy—getting carte blanche from a client. “It was excellent, and the first time for me,” Gus Wustemann says with evident glee, recalling how a couple contacted him after seeing his work in magazines, and offered complete creative license. The couple owned a 2,000-square-foot attic apartment in the historic quarter of Lucerne, Switzerland, and wanted it not just renovated, but transformed. Read more…

Wrecking Ball to Swing on Johnson’s Ball House?

Architectural Record online, January 29, 2008

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Philip Johnson was perhaps the most famous of the Harvard Five and the only one of these noted mid-century Modernists whose entire residentious oeuvre remains standing. That might soon change. The New Canaan Historical Review Committee’s demolition delay on his 1953 Alice Ball House, in New Canaan, Connecticut, expires today.   Read more…

A grand master breaks new ground at the Serpentine

Architectural Record, August 2003

Open for just three months during the summer, the Serpentine Gallery Pavilion, located in London’s Kensington Gardens, could be a mere blip on the architecture radar. Yet it manages to garner the attention usually reserved for major projects. One can see why. Since its inception four years ago, the Pavilion has showcased work by some of the world’s most heralded architects for its annual architectural commission—Zaha Hadid (2000), Daniel Libeskind (2001), and Toyo Ito (2002). This year’s selection for the project, Oscar Niemeyer, Hon. AIA, is no exception. Ninety-five years old and busy at work, the Pritzker Prize winner continues to engage and excite the public with his designs.  Read more…

Although Jorn Utzon, winner of the 2003 Pritzker Prize, created one of the most famous buildings in the word, both the Sydney Opera House and Utzon himself have remained elusive. Throughout his career, Utzon has closely guarded his privacy and declined offers to collaborate on monographs. However, after Richard Weston completed much fo the legwork for this volume, Utzon agreed to contribute to it. The result is a gorgeous, intimate monograph that overflows with images, anecdotes and Weston’s admiration for the Danish architect. Read more…