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As Jacobs explains in her book The Death and Life of Great American Cities: Artists, whatever their medium, make selections from the abounding materials of life, and organize these selections into works that are under the control of the artist…the essence of the process is disciplined, highly discriminatory selectivity from life. In relation to the inclusiveness and the literally endless intricacy of life, art is arbitrary, symbolic and abstracted…To approach a city, or even a city neighborhood, as if it were a larger architectural problem, capable of being given order by converting it into a disciplined work of art, is to make the mistake of attempting to substitute art for life. The results of such profound confusion between art and life are neither art nor life. They are taxidermy.” (1961: 372-3, emphasis original) So how do we avoid turning the results of urban design into taxidermy and killing off a city by planning? I think the short answer is that we avoid it by recognizing that there’s a tradeoff between the scale of a design and the degree of spontaneity, complexity, and intricacy in the resulting social order that the design allows. Now, saying that a city cannot be a work of art doesn’t mean of course that a city cannot be beautiful or that deliberate design can never enhance that beauty. But I am suggesting that beauty that is designed as a work of art is fundamentally different from the undersigned beauty that emerges from a lifetime of experience. The skillfully made-up face of a fashion model and the face of a 90-year-old grandmother are both beautiful, but in profoundly different ways. Niels Gron, quoted in Gerard Koeppel’s City of a Grid: How New York Became New York: Before I came to this country, and in all the time […]
“In fine, I see from our example that human society holds and is knit together at any cost whatever. Whatever position you set men in, they pile up and arrange themselves by moving and crowding together just as ill-matched objects, put in a bag without order, find of themselves a way to unite and fall into place together, often better than they could have been arranged by art.” Michel de Montaigne