At night, they illuminate the space, casting circles of light around the square. The overall effect is not only to enliven the form and function of the public square, but also to bring the space itself into dialogue with the city and its inhabitants. A similar concern for the interrelation of city and public space underlies the redevelopment of Piccadilly Gardens in Manchester Figure 1.
The main challenge facing this project was to contribute to the regeneration of Manchester city centre in the aftermath of the IRA bombing, which destroyed over a million square feet of retail and office space. One of the most interesting aspects of the final design is the way it incorporates the form and flow of a city street into the park itself.
Extending in an uninterrupted straight line from the adjoining road, a pedestrian thoroughfare cuts across the width of the park. Intersecting this thoroughfare at a right angle is another walkway that gently arcs to connect the far corners of the park.
The result is a blurring of the distinctions between urban pavement and garden path — a nearly seamless transition that invites pedestrians to stray into the park from the city as well as back into the city from the park. Interestingly, the design envisions retaining much of the artificial topography created by the undulating mounds of garbage, some of which reach heights of over ft. These mounds will be sealed beneath a protective polymer lining and topped by a thick layer of soil, enabling the ecological and environmental recovery of the site.
In a very real way, this rehabilitated natural landscape will be shaped and sustained by a hidden cityscape of urban waste. It is also worth noting that the Fresh Kills landfill is the final resting place of the World Trade Center towers. In a further commemorative gesture, the monument is oriented on an axis with the skyline where the towers originally stood, allowing a panoramic vista of lower Manhattan in the far distance — a view soon to include the distinctive profile of the Freedom Tower rising from the redeveloped WTC site.
The earthwork monument accordingly establishes another strong link back to the lived space of the city. The orientation of the monument creates a direct visual connection with the New York skyline, encouraging visitors to gaze at the city from the vantage point of its recycled dumping ground. Drawn from the fields of cultural theory, architecture, film, literature, visual art, and urban geography, the chapters in this volume make a collective, cross-disciplinary case for the continuing impor- tance of questioning cities — including their causes for social optimism.
In making this case, the contributions offer what I am hopeful readers will see as another kind of groundswell: not just a surge of creative urban production but also a burgeoning of innovative critical urban analysis drawn from across the humanities, social sciences, and beyond.
IMAGE — TEXT — FORM Connected by a shared concern for issues of spatiality, the chapters in this book are organized around three broad, interrelated themes — image, text, and form — and range from the examination of cyberpunk skylines, postcolonial urbanism, and the cinema of urban disaster, to the analysis of iconic city landmarks such as the Twin Towers, the London Eye, and the Jewish Museum Berlin.
In the process, Jarvis reveals how the violence of urban destruction has been a long-standing obsession within modern and postmodern culture, implicating writers, artists, and film-makers as diverse as Upton Sinclair, Thomas Pynchon, Godfrey Reggio, and Orson Welles. The final chapter in Part I shifts the focus away from the iconographic skylines of Western culture to look at a different post-disaster urban landscape. Part II, which changes the emphasis from the visual to the textual, begins with a psychogeographical excursion through urban counter-culture.
For such writers, the city is a space of chaotic, fragmented, and sensorial experience. In this respect, as Upstone argues, postcolonial novelists share a discourse with postmodern commentators such as Edward Soja, Sophie Watson, and Steven Pile who conceive the city as multiplicitous, subjective, and often unknowable.
Yet these postcolonial writers also add to this theoretical discourse a social realism and awareness of the inequalities of the city that indicates the potential limits of the postmodern project. Space has always been a highly contentious issue in Africa and, as the next chapter shows, this is particularly the case in the context of contemporary urban Africa.
As he illustrates, the shanty town, the high-tech mall, the residential tower, the gated community, and the business district are all significant urban sites for contemporary writers interested in exploring how the distortions of colonialism and capitalism have shaped — and continue to shape — African cities.
What emerges is a city that is fluid and disorienting — a shape-shifting space that forces a re-evaluation of the ways in which we visualize and theorize urban landscape. As such, Bate argues, the shape-shifting urban imaginaries of postmodern fiction foreground a critical spatial tension between the transparent logic of the legible cityscape and the illegible anti-logic of the lived city.
While simultaneously sharing and questioning that fascination, my discussion examines cultural responses to the New York skyline at several key moments in its vertical history, and in the process revisits the theme of urban violence and destruction running through this book. One is a short story about skyscrapers by the American modernist writer Willa Cather.
My argu- ment is that, in sharply contrasting ways, these two texts register deep-rooted cultural anxieties about modern urban development and the profoundly transitory nature of urban landscape. In this respect, it begins to pursue a concern that is addressed much more fully and explicitly by the four chapters grouped together in the final part of the book.
The second part of the discussion focuses on Venice and urban performativity. The conclusion reached here is that the performativity and pliability of Manhattan and Venice are what enable both cities to remain relevant in current architectural and urban discourse about the mutability of cityspace.
It has become conventional to read the Gold Coast as paradigmatically postmodern, marked by its diasporated growth, lack of history, and the play of surfaces taken to constitute its cultural expression and identity. However, Patricia Wise argues that confining the Gold Coast to its postmodernism cannot provide a satisfactory account of its urban processes.
Some of the techniques listed in Come Together may require a sound knowledge of Hypnosis, users are advised to either leave those sections or must have a basic understanding of the subject before practicing them. DMCA and Copyright : The book is not hosted on our servers, to remove the file please contact the source url. If you see a Google Drive link instead of source url, means that the file witch you will get after approval is just a summary of original book or the file has been already removed.
Loved each and every part of this book. I will definitely recommend this book to romance, romance lovers. Your Rating:. Your Comment:. Read Online Download. Hot Free as in Freedom 2.
Great book, Come Together pdf is enough to raise the goose bumps alone.
0コメント