Tag: paris

• European-style height, but not density

  As I wrote about last month in this pithy post, the relationship between building height and density are often misunderstood. They mean different things and so the implications for our cities can also be vastly different.

  I woke up this morning to a couple of tweets by John Michael McGrath that I think hit the nail on the end with respect to this duality. If you can’t see them below, click here.

  https://twitter.com/jm_mcgrath/status/1105500872979742720

  Paris is known, and largely celebrated, for its “European-scaled” mid-rise buildings. But as John points out, these buildings often line narrow streets (see above). They are typically also built across large blocks with compact internal courtyards and with few setbacks and/or stepbacks. The combined result is that Paris is one of the densest cities in Europe. It has mid-rise at scale.

  The North American context is quite different. The large majority of our land is usually reserved for low density housing. (Here in Toronto this land has been nicknamed the “Yellowbelt.”) We have a policy context that only allows intensification in select places, and that can create pressures to build up. It’s a bit like squeezing a closed tube of toothpaste.

  In 2012, Eurostat ranked Paris as the densest city in Europe with an average population density of approximately 21,516 people per square kilometer. Whereas, according to Wikipedia, the population density of metro Toronto was around 5,905 people per square kilometer in 2016.

  What is it, again, that we love so much about Paris?

  2019.03.13

• Archival street life footage

  Guy Jones is a videographer who specializes in archival footage, or at least that is what his YouTube account suggests. He edits old videos and makes them more watchable by doing things like adding sound and slowing them down to a natural rate. 

  (Older films often appear sped up because they were recorded at less than 24 frames per second and then later played at 24 or more frames per second.)

  I’ve blogged about one of his videos before. This one of New York City in 1911. But he has so many other fascinating films on his channel – including a frozen Ottawa from 1942 – that I figured I would share it in its entirety today. 

  For the city builders in the room, here are some street life videos of Paris in la Belle Époque (1896-1900), New York City in 1927, and London in 1967. Among other things, it is fascinating to see how quickly the car crept its way into our cities.

  The video of Paris is all horses and moving walkways. The video of New York City (1927) is all cars. And if you look at the other video of New York from 1911, you’ll see a city in the midst of that transition.

  2019.01.22

• Red tide, scooters, and civic security

  

  I am reading up on a few different things this morning.

  Southwest Florida, which is where I am right now, is in the midst of a “red tide” that began last November. These happen fairly regularly along the Gulf Coast, but this one is high up on the severity scale. There doesn’t appear to be a clear explanation for what causes them, but sustained warmer temperatures and fertilizer and other pollutant runoff are thought to stoke it. Whatever the cause, they are devastating to the environment. We are switching coasts tomorrow morning.

  Portland now has electric scooters. (Why don’t we have these in Toronto?) But to combat possible concerns around urban clutter, the company, Bird, has committed to collecting all of its scooters each night and has agreed to remit $1 per scooter per day to the city. These scooters are pissing off some cities (or maybe it’s just San Francisco), but I still believe the problem will eventually get resolved. City Observatory also has this interesting piece where it compares the above scooter pricing to car pricing. Are we underpricing cars?

  Finally, here is a short film on civic security in Paris. In an effort to mitigate terrorism, the city has, of course, been implementing and erecting fencing, barricades and other reactive security measures. But sadly, now that this has become a new reality, the capital is spending more time considering how these measures could be more thoughtfully designed. The video showcases some of them. Certainly a more deliberate approach, but are they just as reactive?

  Maybe one of these topics will be of interest to you too.

  Photo by Andreas Selter on Unsplash

  2018.08.04

• The most popular building amenities (according to a small subset of people)

  Here are the results from my primitive multi-unit building amenities survey:

  

  Gym is number 1. No surprise there. 46% of respondents said it was in their top 3. 

  Rooftop outdoor space at number 2 was perhaps a bit surprising. But then again, who doesn’t love a good rooftop patio?

  As for concierge service, I tend to think this was driven by package delivery. That’s certainly the biggest value add for me.

  One standout near the top, for me at least, is co-working space. Andrew LeFleur made mention of this on Twitter and I think he’s right: The changing nature of work is making these spaces more valuable in multi-family dwellings.

  And now some color on the above results.

  436 amenity selections were made as part of this survey. 

  About half of the respondents were from the Greater Toronto Area, followed by Calgary, San Francisco, Ottawa, Boston, New York City, Denver, Los Angeles, Paris, Miami, and many other cities. Shoutout to whoever responded from Kuala Lumpur and Porto Alegre.

  In terms of “Other” amenities, there were suggestions for a band rehearsal space, a vending machine, a grassy area for sports, and programming the helps you meet your neighbors.

  In terms of this one last, it can be tricky for condo buildings. Developers only provide the space. It’s then up to management. But I’ve seen it done very well in rental buildings.

  Are you surprised by any of the results from this survey?

  2018.03.24

• Crypto networks and top-down urban planning

  

  Taylor Pearson recently compared crypto networks to cities and argued that the best crypto networks, much like the best cities, are formed from the bottom up. 

  The example he gives is that of Paris (bottom-up) vs. Brasilia (top-down). Paris is the hugely successful city and Brasilia is the failure of high-modernism.

  I appreciate the argument he’s making and I do agree with him on the potential of decentralization, but I couldn’t help but dig into his city example a bit further.

  The Paris we all know and love today is the result of an enormous centrally planned urban renewal exercise. Baron Haussmann carved, among many other things, long straight boulevards through Paris’ medieval fabric in order to modernize and rationalize the city.

  What makes this top-down exercise different from that of Brasilia’s? Is it simply that Haussmann was constrained by Paris’ existing and decidedly urban fabric?

  Because then we could turn our attention to New York City’s gridiron plan of 1811, which laid out – before the island of Manhattan had even fully developed – a relentless and orthogonal street network from Houston Street all the way up to 155th Street.

  Is the difference that Brasilia was planned with suburban sensibilities in mind and Manhattan was not? Or was it the restrictive Euclidean zoning that did it in for Brasilia? 

  Whatever the case may be, history suggests that some top-down planning exercises may have worked out just fine. Though to be fair, each of them was not without their share of critics.

  Photo by Rafael Leão on Unsplash

  2018.03.20

• The City as a Place for People

  The City of London Corporation recently published a report called “The City as a Place for People”, which talks primarily about itself and how great London is as a magnet for talent. 

  But as self-serving as it may be – the report is timed to be ahead of this year’s MIPIM – there appears to be some data and interviews backing up the claims.

  58% of “institutional investors” said that London is the best European city for business. Dublin was next at 22%. 

  A separate survey of 2,568 “corporate decision makers” in Europe revealed that 21% of respondents felt that London was the best European city for business, followed by Paris (13%) and Frankfurt (7%). When asked which city had the best talent pool, the responses were fairly similar.

  Also included in the report is a rendering of the City’s skyline by 2026. These are always fun to see. Here is a screen grab:

  

  It is showing all towers under construction and all towers with their planning permissions in place. If you’d like to download the full report, you can do that here.

  2018.03.14

• Multi-Unit Housing in Urban Cities: From 1800 to Present Day

  

  I just ordered a copy of Multi-Unit Housing in Urban Cities: From 1800 to Present Day by Katy Chey. I figured this was a book that we should have hanging around our office. I also like to support the Daniels Faculty.

  The book covers the following multi-unit housing typologies:

  • Back-to-backs in Birmingham
  • Tenements in London
  • Haussmann apartments in Paris
  • Tenements in New York
  • Tong lau in Hong Kong
  • Perimeter block, linear block and block-edge in Berlin
  • Perimeter block and solitaire in Amsterdam
  • Space-enclosing structures in Beijing
  • Kyosho jutaku in Tokyo
  • High-rises in Toronto

  In addition to each typology, the book analyzes the connection between the housing type and the city. Why did certain typologies flourish where they did and how have they helped to define their city?

  It reminds me of what I was trying to do with some of my recent posts about Hong Kong’s typical tower plan, albeit with far less rigor than what I am sure has been applied to this book.

  I am also curious to read what has been written about high-rises in Toronto. It goes to show you just how defining the current real estate cycle has been for this city. That’s our multi-unit housing typology.

  Image: Daniels Faculty. My multi-unit home made the book.

  2018.01.26

• Paris syndrome (in China)

  French photographer and graphic designer François Prost has a new photo series out that I thought I would share with you today. It’s called “Paris Syndrome” and I discovered it via CityLab.

  What the series does is visually compare Paris to a housing estate in Hangzhou, China called Tianducheng, which was designed to be a replica of Paris. Tianducheng even has its own Eiffel Tower, though this Chinese version is only 108m tall and the French original is 324m.  

  

  Still, in many of François’ photos, you may find it difficult to distinguish between the two (provided you ignore the Chinese people and the Chinese signs). The neighborhood was initially a ghost town, but apparently it’s now starting to fill up.

  The reason I mention this photo series is because it reminded me of the day that I spent in Macau last week. I’m not much for gambling – and Macau is firmly the gambling capital of the world with revenues that greatly exceed Las Vegas – but I was curious to see it.

  Similar to Hong Kong, Macau is a Chinese Special Administrative Region with a lot of autonomy. But from 1557 to 1999 it was under Portuguese administration. And so historically it has been home to this very unique Eurasian culture spanning everything from food to language. 

  I say “historically” because the Macanese and their Patuá language – which is supposedly a blend of Portuguese, Cantonese and Malay – seem to be on the brink of extinction. 

  Today it’s all about the casinos. And the demand is firmly coming from mainland China. In 2016, 90% of Macau’s 31 million tourists came from there.

  I fully appreciate the demand drivers, but I struggle to understand the allure of replicating and bastardizing attractions from other places. Macau also has an Eiffel Tower, as well as a Venetian (like Las Vegas). You can go for gondola rides in its canals.

  The more interesting part for me was the historic center of Macau with its Portuguese paving on the sidewalks. But maybe that’s just me.

  Image: François Prost

  2018.01.12

• 50th year anniversary of Playtime

  This month is the 50th year anniversary of the Jacques Tati film, Playtime. Initially released in December 1967, Playtime is a French comedy that is often considered to be director Tati’s most notable work. Apparently it was commercially unsuccessful at the time of its release. But it has since become recognized, at least by some, as one of the greatest films ever made.

  The film is a satire of modern society. And so it’s also a funny critique on modern architecture and the prevailing ideologies at the time. Watch the trailer below and you’ll very clearly see this relationship: a Frenchman lost in a new, modern Paris. I remember watching one of his earlier movies – Mon Oncle – in one of my undergraduate architecture classes.

  If you can’t see the trailer below, click here:

  [youtube https://www.youtube.com/watch?v=zrYB8hgyq4s&w=560&h=315]

  2017.12.10

• Drip, subscription platform for artists and creators

  

  Kickstarter has just relaunched a subscription service for artists and creators called Drip. It is an acquisition that Kickstarter made a few years ago and so that’s why it’s a relaunch. Here is the blog post announcement.

  The simplest way to describe Drip is as follows: “Kickstarter is for projects, Drip is for people.” In other words, instead of backing a specific project, you back the human for, say, $10 a month. It’s a tool for people to fund creators so that they have the freedom to make their work.

  Now compare this model to that of the 19th century Salon in Paris. Arguably the greatest art event in the Western world during its prime, getting exhibited at the Salon was basically a right of passage for artists.

  But the Salon had specific criteria for what it considered to be good and acceptable art. Perhaps most famously, 19th century Impressionism – which some would call the first truly modern art movement in painting – was not considered acceptable.

  The Impressionists routinely had their work refused by the Salon, which is why they ended up having to organize their own shows. Good for them.

  So when I see something like Drip, I think about how amazing it is that we now have platforms where artists and creators have the freedom to make what they want to make and the market – instead of a stuffy institution – can decide what is good and worth supporting. 

  Check out Shantell Martin if you’re looking to explore Drip. I recently discovered her work and I’m a fan.

  Image: Coney Art Walls by Shantell Martin

  2017.11.16