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Sunday, October 16, 2016

HFC F2016: Lecture 6

HFC S2016: Lecture 6 Spatial Critique

Please respond to the following questions for this week's lecture under the blog comments:

1) Pick a space within the city and describe how it functions in terms of the types of space listed in the lecture. Describe the space and its functions in detail, be specific. Most spaces are made up a collection of the elements of the types of space - identify the primary 'type' of space that the city space you choose is, identify the characteristics that signify that it is this spatial 'type' and explain how they function.

2) Most spaces within the city interact with adjacent spaces and spatial types within the city, explain how the space you chose interacts with, affects, and is affected by an adjoining urban space.

3a) Describe a space in Philadelphia Describe using the vocabulary of the lecture describe a space and the qualities of spatial relationships which the event utilized. Be specific.

3b) Describe a space not in Philadelphia: Describe a large outdoor civic event you were present for, using the vocabulary of the lecture describe the space and qualities of spatial relationships utilized by the event. Be specific.

Comments for this week's posts are due by Friday.

If you are encountering any issues posting comments please notify Prof Hart immediately. Forward a copy of your comments if you have any posting issues. I am working with tech staff to resolve these issues. 

HINT: To protect, refine and improve your written work it is recommended that you draft, proofread and edit your responses in a save word document before copy-and-pasting the text into the comments bar of the webpage - composing your comments only in the comments bar makes clear writing, editing and saving not just difficult but if you hit the wrong button impossible!!

Thursday, October 6, 2016

HFC F2016: Lecture 5 Labor, Work, Action | Commodity, Firmness, Delight

One quadrant of the idealized Vitruvian City - note the similarity with the prior Lecture's image of the Vitruvian Man. This similarity is not by chance  - philosopher Vitruvius wanted his ideas to scale across the human scale, the scale of the city, and that of the universe.

Vitruvius,  Architecture + City 

As we begin to explore the concepts that formulated the early cities, there are some very clear distinctions that have to be made. Today, the way we interpret urban form is radically different than the manner in which urban form in the city in history was both formulated and interpreted. Today's city is a collage or mixture of multi-uses, and layers of previous uses. Housing, industry, commercial and recreation are closely intertwined, woven into one another as the city has evolved over time. Some neighborhoods have stayed the same, or completely changed in their tenor, or even gone full circle during their local history. There is very little distinction made between buildings and spaces that are special to our society and buildings and spaces that exist only for the purpose of function. There is little distinction between the sacred and the profane or the special buildings versus the ordinary buildings. However, in the earliest cities this distinction was very clear and defined. The cities for example in ancient Greece were almost always delineated by an imaginary line which segregated the sacred part of the city from the profane segment. The distinction between the sacred and the profane was a powerful organizing device in conceptualizing the form of the city.
In order to understand the distinctions between the sacred and the profane and why these distinctions were so important in the earliest cities, we must first understand how and why such distinctions were made.
Various idealized city plan-forms that take design cues from Vitruvian ideals.

The theorist, Hannah Arendt, designated three activities that were critical in human activity. These three activities are: 
  • Labor 
  • Work 
  • Action 
Arendt assigned particular meanings to each of these terms; the two terms which have the most correlation to the form of cities are defined as:
  • Labor is the activity which corresponds to the biological process of the human body whose spontaneous growth, metabolism and eventual decay are bound to the vital necessities produced and fed into the life process by labor. 
  • Work is the activity which corresponds to the unnaturalness of human existence which is not imbedded in, and whose mortality is not compensated by the species ever recurring life cycle. 
  • Action  - a more nuanced approach that modifies the prior two.
In the context of these definitions and their relationship to urban form, labor is viewed as a constantly changing process, a necessity for survival and produces, in the context of architecture, buildings that are impermanent and synonymous with the private realm. Work, on the other hand, is an activity which produces elements that are permanent and are viewed as synonymous with the public realm. Early man viewed human energy in the context of labor and work. In the action of labor, man built structures which were essential for his survival and for the survival of the collective whole. These structures were impermanent and were not meant to be buildings that would become the artifacts of history for later generations to interpret. The erection of cells or the units of housing emerged through the activity of labor, the process of biological survival; housing dominates much of the urban fabric today and in the city of the past. Work for early man was a much more thoughtful process, and a process that relied on developing a collective mythology that would spiritually unite a society; in the context of architecture this collective mythology would evolve in the creation of buildings that embodied the spirit of this belief. These buildings become the "work of architecture", or the sacred buildings of a society.
In examining the many definitions of architecture through history, a common definition derived from antiquity through Vitriuvius is that architecture or "fine buildings" should have three things:
  • Commodity (function) 
  • Firmness (structural soundness) 
  • Delight (visual appeal) 
The dictionary offers two significantly different definitions for the word. The Greek word "architecton" meaning constructor, is defined firstly as the art or science of constructing edifices for human use and secondly as the action and process of building. In the context of Arendt's terms, the first definition is quote the "work" of architecture; the second definition is the "labor" of architecture. The term, "edifice" is a term which describes buildings that are stately and signify collective culturally views of a society. The building of an edifice is not essential for a society to survive physically. An edifice is a piece of art in the built fabric. The second definition of architecture is as stated above the "labor" of architecture or the building process that is essential for a society to survive. In the context of architecture, this process does not result in edifices but in the shelters that protect us from the natural elements. The Vitriuvian definition of architecture, that "fine buildings" should have commodity, firmness and delight is a definition which describes the "work" or "art" of architecture.

Ideals might not always be put into practice perfectly, but nonetheless they influence the form, shape, and personality the city grows into. Above, and image of an idealized plan for a Roman City (left) and the realized actual city (right)

The earliest cities frequently made a sharp distinction in location within the city between the "work", the edifices of collective mythology and the "labor", the shelters necessary for survival. Later in the semester, we will explore Greek cities in antiquity in which the delineation between the sacred buildings (the work of architecture)and the profane buildings (the labor of architecture) is absolutely clear.

Many cities are easily discernible by their unique street plans. This style of map - called a Nolli Map - shows available and useable public space (streets sidewalks, open areas, parks) as void white spaces and private space as shaded black.

Visualize a city that is very familiar to you. How would this city appear if this principle were applied - answer using the following questions. 

Please respond to the following questions for this week's lecture under the blog comments:
  1. DUE MONDAY: Pick a space within the city (Philadelphia or another city that you name) and describe how it functions in terms of the types of space listed in the lecture. Describe the space and its functions in detail, be specific. Most spaces are made up a collection of the elements of the types of space - identify the primary 'type' of space that the city space you choose is, identify the characteristics that signify that it is this spatial 'type' and explain how they function.
  2. DUE MONDAY: Most spaces within the city interact with adjacent spaces and spatial types within the city, explain how the space you chose interacts with, affects, and is affected by an adjoining urban space.
  3. DUE WEDNESDAY: Select one of the city spaces described by one of your classmates and write a brief critique of the space, their application of the types of space. Be critical in augmenting or reinforcing, or deconstructing their argument.

Questions 1 + 2 are due by by Monday

Question 3 is due by Wednesday

Friday, September 30, 2016

HFC F2016: Lecture 3+4

We will be collecting comments under this post for Lectures 3 + 4.

Lectures:
In our last lectures we explored how the 'seed' of the city, basic dwelling, habitation, and habituation to an environment over a long term more permanent lifestyle could lead to the amalgamation of its inhabitants, the beginnings and importance of a more permanent culture, and the start of a built environment.

This week we will be expanding our view as early civilizations tried to make sense of and apply a systemic approach not only to what they saw in the sky above them, but also to organizing their own inhabitation on the ground.


On the left, a map of Ptolemaic Celestial understanding of the heavens, on the right, and early 'T and O' style map of the western world

Notes on Comments:
Like last week once you have posted your comments for the lecture, tune back in to discuss and comment on your fellow classmate's work - this is how we improve out writing! Continue commenting on the discussion, ask additional questions, email links etc.

Additional comments, questions, and discussion go towards class participation which is another component of your grade. Last week we had some great examples of this when people started asking, and responding to questions from each other.
To get this ball rolling, here's some enticement for discussion + thought:

In a world that is now global, has the significance of the city and its importance to a specific country changed...or are we totally dependent on each other for our future- economically and politically ?

All Comments are due by Monday 9 pm EST
Be sure to sign your posts!!!

Helpful Note:
Please identify in your post if you are:
  • Responding to Lecture 3
  • Responding to Lecture 4
  • Responding to the blog question (in italics above)
  • Responding to a fellow student's comments (be sure to identify the person you are responding or asking a question of)

Monday, September 26, 2016

HFC F2016: Lecture 2 The Largest Step

Lecture 2: The Largest Step is now available for review on Blackboard in the Content Folder

For this lecture in addition to your own comments, you will be responsible to read and write a critique, support, debate, or defense of an earlier position or observation made by a classmate.

A note on writing quality: Your written answers to the questions at the end of each lecture should demonstrate that you have read, understood, and reflected upon the course material, that you have thought about its implications, and drawn a meaningful response from them.

Answers which reflect a cohesive well written effort, which engage the course material, or which extend the conversation will be noted, and credited

Below some imagery and additional articles and resources detailing current geo-political and humanitarian and urban issues relating to and around production, processing and distribution of wheat in our contemporary times around the world - use them for reference in your answers if you need support to make a point!



  • India: Food rots as people starve report by Jason Overdorf from Public Radio International on a wheat surplus and transport shortage due to mismanagement and politics in India in 2012

  • The Quest for Everlasting Harvest report by Brooke Borel for NOVA in 2014 detailing how some farmers are returning to old methods of grain production for more sustainable and long term consistent yields in favor over prior high-yield high-impact farming methods.


Stay tuned to email, blackboard, and Jellospace Blog for the upcoming post on Lecture 3, and our first Discussion Forum: DemocraCITY, Social Space and the City  - details to follow in a specific Jellospace posting

Thursday, September 22, 2016

HFC F2016: Nomads, and the Nomadic Lifestyle Inception of the City

This course, the History and Form of Cities, was conceived and developed by Professor Brigitte Knowles and utilizes text, research, and work compiled by her for previous iterations of the course. After teaching with Prof Knowles for several years it is my honor to kick off this semester, and the latest edition of the course benefiting from her extensive work, guidance, and encouragement.

On to our first lecture (as always this material and the material on blackboard should be reviewed):


Image of nomadic man and his herd, part of this photo collection group on flickr
Why do we need a history of city development ? There are clearly many reasons. The role of cities in the development of the history of mankind has been a constant one. Cities have been standard bearers for most of the decisive changes in the evolution of ideas and in the making of history. Over 5000 years separate us from the "Urban Revolution" or over 180 generations; however, neither the purpose nor the intellectual structure of cities has changed.


The first cities were small enclosures with a limited number of inhabitants. These early cities were limited in concept and reflected man's vision of a limited universe, that similar to his city, sheltered him. Today, we perceive of the universe as unbounded, though not necessarily infinite. Similar to our conception of the universe today, the city appears unbounded, not clearly delineated. As we study the evolution of cities, we are also studying the evolution of ideas. Cities are the repositories of intellectual ideas, and these ideas are transmitted from generation to generation. A history of cities is a study of mankind and in particular, the study of the intellectual evolution of man. Cities are social products; economic conditions and motivations are secondary.
Why did early man develop cities ? Was it because they were lonely, bored in their isolation or sensed that as a group, they had more power and protection. Most likely, it was probably all of those reasons. As we progress through the evolution of cities, we see that cities formed out of a need for protection, a desire for worship, a need to engage in politics, attraction through the power of kings, and a necessity for industry, trade and colonial expansion. Based on the reason for the development, the physical form of the city was different in each case. Location of the city was also based on the logic or reason for its inception and existence.
Many historians attribute the first origins of cities to be the burial place of either the individual or the collective human being. Early man was nomadic in nature and the place he in fact paused permanently for the first time was in the grave. One of the first definitions of a city is that is that it must be a place of permanence. Aldo Rossi, a modern Italian architect offers a definition of the city as not only a place of permanence but also a place or locus of memory. If one accepts this definition, then clearly the burial ground can be interpreted to be a city, for it is a place of permanence, and a place which marks for the living the remembrance of the dead. The first city at least in the eyes of the historian is the grave, marking permanence and memory.
No matter where cities developed or for whatever reason, man had to establish a relationship between man and nature. For the first three thousand years, man was deeply embedded in nature. His experience with nature was one that was not based on abstractions but on a relationship in which the phenomena of nature was not seen as mere symbolism but as reality. Early man viewed nature as if nature was a divinity. The world and all the phenomena of nature was a mystery . Early man did not understand why it rained or snowed, the purpose of droughts, hurricanes, tornadoes or why the various seasons occurred and along with the seasons, the unique characteristics identifying each of these seasons. However, he very clearly understood that he was at the mercy of nature and that in order to survive he had to respect nature as if nature was a divinity. Early man felt that God or Gods and nature were intertwined and that it was necessary to pacify the wraiths of nature or the gods by means of worship. This first relationship that man had with nature is historically referred to as a Man to Thou Relationship. In this relationship, early man believed Nature to be the embodiment of God. Symbolism was concrete and came to life in visible form and not through analogies. Man's relationship with nature was permeated with the sense that nature and man were intimately interwoven.
Early man is often referred to as being primitive. When a society is viewed as primitive, this society is often defined as being culturally naive, crude or undeveloped. Though this may be true to some extent, primitive in the context of an evolutionary study of cities and the societies that formulated these cities means that these societies lacked a formalized framework of literacy. Though these societies did have a framework for communication, the thoughts or ideas that they were able to convey to one another were very simplistic in nature. Imagine that you are a writing a letter to someone. This letter could be quite complex or it could be absolutely the opposite, a letter of complete simplicity. The letter could say " Hello! How are you ? Please come to my party ! Or the letter or document could be quite complex, perhaps defining the principles and proof of the Pythagorean theorem which is a theorem in geometry - the square of the length of the hypotenuse of a right triangle equals the sum of the squares of the lengths of the other two sides . This is clearly a very complex theorem and its proof formulated by the Greek philosopher, Pythagoras is even more complex. The first message is so simple that we do not have to write it down in order to remember it. The second message or the theorem is not only complex and requires, particularly in its proof, for us to write it down not only to remember it but also to fully understand its implications.

Mushtaq, Sheikh (2008 Dec 29) Fakes, neglect wearing thin Kashmir's pashmina trade. Reuters India Edition


The difference between the two messages is the difference or distinction between a society which can only convey simple messages by word of mouth or a society that has complex ideas and theorems and wishes to convey these complex ideas to the next generations. One is an illiterate society, the other is a literate society. Urban historians feel that a society must be literate before a collective settlement pattern can be identified as a city. Pre- urban societies are societies which are pre-literate. Such societies are referred to as Folk Societies.

Generic characteristics of Folk Societies are:
  • Small homogenous group of people usually nomadic in nature
  • All of their human energy is devoted to collecting food for daily usage
  • No ability to store food for later usage
  • No labor specialization
  • No class distinction
  • Pre-urban
  • Pre-literate
A great scientific investigator, J. J. Bronowski in a book titled the Ascent of Man describes his immemorable experience living with a nomadic tribe in Bakhtiari in what was then called Persia. This nomadic tribe, though in existence today, very much resembles the nomadic tribes of early, primitive man. The following are his observations:
"Everything in nomad life is immemorial." The Bakhtiari have always traveled alone, quite unseen. Like other nomads, they think of themselves as a family, the sons of a single founding father. (In the same way the Jews used to call themselves the children of Israel or Jacob.) The Bakhtiari take their name from a legendary herdsmen of Mongol times, Bakhtyar. The legend of their own origin that they tell of him begin, And the father of our people, the hill-man, Bakhtyar, came out of the fastness of the southern mountains in ancient times. His seed were as numerous as the rocks on the mountains, and his people prospered. The biblical echo sounds again and again as the story goes on. The patriarch Jacob had two wives, and had worked as a herdsman for seven years for each of them Compare the patriarch of the Bakhtiari: The first wife of Bakhtyar had seven sons, fathers of the seven brother lines of our people. His second wife had four sons. And our sons shall take for wives the daughters from their father's brothers' tent, lest the flocks and tents be dispersed. As with the children of Israel, the flocks were all important; they are not out of the mind of the storyteller (or the marriage counselor) for the moment.
Before 10,000 BC nomad people used to follow the natural migration of wild herds. But sheep and goats have no natural migration. They were first domesticated about ten thousand years ago- only the dog is an older camp follower that that. And when man domesticated them, he took on the responsibility of nature; the nomad must lead the helpless herd.


The role of women in nomad tribes is narrowly defined. Above all, the function of women is to produce men-children; too many she-children are an immediate misfortune, because in the long run they threaten disaster. Apart from that, their duties lie in rearing food and clothes. For example, the women among the Bakhtiari bake bread - in the biblical manner, in unleavened cakes on hot stoves. But the girls and the women wait to eat until the men have eaten. Like the men, the lives of the women center on the flock. They milk the herd, and they make a clotted yoghourt from the milk by churning it in a goatskin bag on a primitive wooden frame. They have only the simple technology that can be carried on daily journeys from place to place. The simplicity is not romantic; it is a matter of survival. Everything must be light enough to be carried, to be set up every evening and to be packed away again every morning. When the women spin their simple, ancient devices, it is for immediate use, to make the repairs that are essential on the journey - no more.
It is not possible in the nomad life to make things that will not be needed for several weeks. They could not be carried. And in fact the Bakhtiari do not know how to make them. If they need metal pots, they barter them from settled peoples or from a caste of gypsy workers who specialize in metals. A nail, stirrup, a toy or a child's bell is something that is traded from outside the tribe. The Bakhtiari life is too narrow to have time or skill for specialization. There is no room for innovation, because there is not time, on the move, between evening and morning, coming and going all their lives, to develop a new device or a new thought- not even a new tune. The only habits that survive are the old habits. The only ambition of the son is to be like the father.
It is a life without features. Every night is the end of a day like the last, and every morning will be the beginning of a journey like the day before. When the day breaks, there is one question in everyone's mind: can the flock be got over the next high pass? One day on the journey, like the highest pass of all must be crossed. This is the ass Zadeku, twelve thousand feet high on the Zagros, which the flock must somehow struggle through or shirt in its upper reaches. For the tribe must move on, the herdsmen must find new pastures every day, because at these heights grazing is exhausted in a single day.
Every year the Bakhtiari cross six ranges of mountains on the outward journey ( and cross them again to come back). They march through snow and the spring flood water. and in only one respect has their life advanced beyond that of ten thousand years ago. The nomads of that time had to travel on foot and carry their own packs. The Bakhtiari have pack-animals - horse, donkeys, mules - which have only been domesticated since that time. Nothing else in their lives is new. And nothing is memorable. Nomads have no memorials, even to the dead. (Where is Bakhtyar, where was Jacob buried?) The only mounds that they build are to make the way at such places as the pass of the Women, treacherous but easier for the animal that the high pass.
The spring migration of the Bakhtiari is a heroic adventure; and yet the Bakhtiari are not so much heroic as stoic. They are resigned because their adventure leads nowhere. The summer pastures themselves will be only a stopping place - unlike the children of Israel, for them there is no promised land. The head of the family has worked seven years, as Jacob did, to build a flock of fifty sheep and goats. He expects to lose ten of them in the migration if things go well. if they go badly, he may lose twenty out of the fifty. Those are the odds of the nomadic life, year in and year out. And beyond that, at the end of the journey, there will still be nothing except immense, traditional resignation.
Who knows, in any one year, whether the old when they have crossed the passes will be able to face the final test: the crossing of the Bazuft River ? Three months of melt-water have swollen the river. The tribesmen, the women, the pack animals and the flocks are exhausted. It will take a day to manhandle the flocks across the river. But this, here, now is the testing day. Today is the day on which the young become men, because the survival of the herd and the family depends on their strength. Crossing the Bazuft River is like crossing the Jordan; it is the baptism to manhood. For the young man, life for a moment comes alive now. And for the old- for the old, it dies.
What happens to the old when they cross the last river ? Nothing. They stay behind to die."Only the dog is puzzled to see a man abandoned. The man accepts the nomad custom; he has come to the end of his journey, and there is no place at the end."

In death, a place of rest, is the beginning of the concept of the City.

Questions: 


1) Why were nomadic tribes not able to invent new ideas?


2) If nomadic life is so steadily, monotonous when compared with other forms that have since developed, why do theses tribes continue to be nomadic?


3) In your opinion, what could have altered nomadic life - i.e. what took it from the predominant for of human existence and altered into a new form of habituation?


Please post your answers to in the comments section below, sign your name as previously relayed in the 'Welcome' previous post.

(Note: in future weeks you will be asked to engage and respond to you classmate's writing, but for this lecture only your own answer is needed as everyone tests and gets used to our system and format)

Monday, August 29, 2016

HFC F2016: Welcome to History and Form of Cities


Welcome!

This is the first blog entry marking the History and Form of Cities, Fall 2016.

Students are not responsible for any information on 
JelloSpace previous to this post

Try leaving a comment to see how this blog works.
If you have questions about the blog questions please email Prof. Andrew H.:
andr (dot) hart @ gmail (dot) com

Check back soon, updates for the first week's class will be posted soon - additionally each week there will be a new class-related post.

First: Important Blogging Information

Please take the time to thoroughly read these instructions on using the course blog. As this will represent the majority of our means of communications it is very important to fully understand its use.

This blog will have up-to-date information relating to the course and discussion topics related to both lectures and debates. Topics relating to the lecture will be posted in conjunction with those lectures. Students should visit the website and test posting comments before the first deadline to insure they are familiar with the online tools of the course. Direct all blog related questions to Prof. Andrew Hart.
Blackboard will be used for official course postings, announcement, course documents, lectures, and debate, notes and updates. Check there for all official course documents.

University Email will be used to notify everyone of new updates, general comments, and specify student notes on progress and practices. Here are a few guidelines to remember when emailing to ensure the speediest response + feedback to your emails
  • *All emails directed to Prof. Hart should be titled starting with "HFC:" followed by a brief description (ex. HFC: question about this week's lecture)
  • *When emailing always sign your name; this ensures that it is clear who the email is coming from.

JelloSpace Blog All students will post comments in regards to lecture material on the JelloSpace Blog. Comments are intended to facilitate online discussion of the lecture topics. Other uses for the blog include but are not limited to, topical discussion on current events pertaining to the course, gathering student found/generated public resources, web links, etc.
Students are encouraged to submit content to Adj. Professor Andrew Hart via email to be incorporated into the website, provide feedback to fellow students, link to material to augment the course, generate meaningful discussion. These practices will the course participation grade. Students are highly encouraged to participate beyond the mandatory minimum listed in the syllabus.

Posting Practices to Blog:
All students comments will be signed using the First Name followed by First Initial of Last name format, as shown here (please note this is essential, since we meet online this is how you will be gauged on class participation and attendance):
John Doe = John D.
Jane Doe = Jane D.
Samantha Kutiz-Meyer = Samantha K. or Samantha K-M
Tien-Xing Hao = Tien-Xing H.
  • *For the purposes of this blog and this class do not sign comments using nicknames, i.e. Samantha, please do not post as Sam, Sammy, Sammie, S. K. etc.
  • *It is not necessary for you to have a Gmail account to post on the blog.
  • *Although there is an option to leave an email address, this does not substitute for not signing a name.
  • *This is for student privacy. No last names please. This format is mandatory for grading identification. In the event of students with the identical naming practice name the faculty and students will designate an appropriate alternative.
  • *If you notice another person in the class has a similar name to you, (ex. John Hogan and John Haverford, which would result in a post for both students as 'John H.', please take it upon yourself to expand your signature until it is unique to you - that way you can be sure there are no mix-ups and you will be credited for your posts)
  • *Comments which are not signed cannot count towards grading.
  • *You must submit at least one comment per lecture or debate post, but you are not limited to one submission, in fact the best discussions have begun over students responding to other students observations!
  • *Best practices is to post once to address the lecture points, and post again as follow up with questions, challenges, answers and additional resources for your classmates and the general discussion.
  • *Grading will be reflect the quality of the writing, level of interaction and participation, submitting and the ability of each student to generate and maintain an informed discussion by using the resources at hand.
  • *Posts which are deemed better-than-average will receive more credit.
  • *Missing a posting, or posting late will result in zero credit for that assignment unless otherwise noted.

Notes on Blog Writing:
All students should endeavor to write thoughtful, meaningful, well-reasoned and original responses, which move the discussion forward. References to work inside and outside of class are welcome and should also be accompanied by a reference as laid out in official course literature and practices (see Blackboard). Additionally all external website information should be linked to in a usable format and date given as to when the information was accessed. Journalistic, professional peer-reviewed and scientific resources are more reliable sources for basing argumentsSites such as Wikipedia, and personal web sites are discouraged. These site can sometimes be utilized as gateways to better, citable, resources, but they should not be used as student cited resources. There are plenty of additional, more substantial resources to pull from, current newspapers, magazine publications, and official online content from government, departments, policy consortiums, design groups, etc. are able to provide much more detailed and useful information for our purposes. The link list on the left hand side of the blog is a compilation of links formed from previous classes
Faculty will review student comments for content as well as writing quality. If you have any questions, want more feedback or have additional resources or topics you think could find their way into the course please contact us!

Please feel free to utilize the comments section of this blog post to test the comments feature and signing your name correctly (while this may seem overly simple it is essential that you know how to do this for the online portion of the class).

Additionally, if you use Google+, or a blog feed reader you can subscribe to JelloSpace for automatic update notifications.

Happy blogging!

Andrew H.

Wednesday, March 30, 2016

HFC S2016: Term Paper: Sequence Assignment


(The following post is in regards to the semester's Term Paper and this week's Homework Assignment for the Term Paper - for the weekly lecture topic 'The Industrial Revolution' and comments scroll down to the next blog post directly following this post)




In the past weeks you have reviewed you film and begun to research your city, the locations depicted in its scenes and identified important sequences that deserve further study, exemplify our city/cinema linkage, and/or demonstrate the power of film and urban places.

As an example of this study I offer up the following example utilizing the first film in Sylvester Stallone's iconic franchise - Rocky.

Firstly, Philadelphia offers us plentiful information in terms of maps, history, culture, and urban spaces. Secondly, the film utilizes these spaces explicitly in many of its sequences. Finally, the combination of these elements allows us to access - or even better - create maps, visit actual sites (physically or through the magic of Google Street View you can go straight to 2313 South Lambert Street, Philadelphia), to facilitate support and back up our thesis that the film and city pairing reflect upon and communicate characteristics of each other (aka the city is not a mere backdrop but a character).

Example Sequence + Analysis:

Rocky is perhaps the quintessential film/city combination. The personality of both the main character and the characteristics of the city are inextricably linked and reflect upon each other.

Rocky, a down on his luck boxer a loved personality in his small neighborhood longs for a chance at a crack at a big shot fighter. In spite of his situation he utilizes his neighbors, their stores (notably his neighborhood butcher's frozen meat for punching bags), and the space and architecture of the city itself to train himself for the climactic moment.

This is epitomized best perhaps in the iconic sequence which follows Rocky on a run through most of the city culminating in a run down the Benjamin Franklin Parkway and up the Art Museum Steps. The run starts in Rocky's small south Philadelphia neighborhood and yours through the industrial rust belt  areas of the city which, like Rocky, had fallen on hard times ultimately leading to the sunny green parkway with flags flying. This space is one of the largest and most celebratory spaces in the city (a larger sunnier urban parkway than most other east coast cities including NYC).


The scene doesn't end there, in perhaps one of the most iconic sequences in cinematic history (which necessitates the invention of an entirely new piece of film equipment -the steadicam- to record!) Rocky sprints up the steps of the Art Museum in a single tracking shot. The frame of the camera starts close to Rocky as his runs across the street  and slowly pulls back as he gets higher, by the top of the stairs Rocky has gone from a pedestrian on the street to a arms reaching skywards in triumph on par with the silhouette of the city as the camera slowly rotates around him showing City Hall and the city's then brand new funicular district sporting new ever taller skyscrapers.



Throughout the movie Rocky and the movie have been tied to each other; In this moment The city and Rocky are in effect a reflection upon each other. In their history, personality and personal triumph.

This is either made more astounding, or completely unbelievable after some research into the film locations, neighborhoods and scenery depicted in Rocky's Run. Native Philadelphians will quickly realize that Rocky is shown first in South Philly, then in the train yards bordering North Philly and the Northeast, suddenly he is shown across the city at the river before running down the parkway to the finale.

Either Rocky has just completed over 30 miles of running (and truly deserving of his celebration) or Hollywood has condensed the city for cinematic effect - critics remain divided but either way the linkage between the city, the character and its cinematic depiction is strengthened.

Next Steps:Making these observations we can now ask questions and begin to assemble supporting material for further information analysts and reference.

  • Re-watching the sequence note particularly valuable stills to capture for illustration
  • Researching the sequence note locations for filming: where are they? What do they display? What meaning is there for showing them specifically and/or in the sequence they are shown in?
  • How is the city depicted? How does the camera move? How do the characters interact with it?
  • What did these locations look like then? What do they look like today? Find imagery - what can be learned from it?
  • Mapping the route or locations what other information can we find? Are the rail yards chosen because of distance? Their look? Their linkage to an industry that has been lost? Some? All of these reasons?
  • What history should I know about these places in the city (why they are here or are the way they are) that will enrich my watching of the sequence? (Information on Philadelphia's proud history of manufacturing and self made industry lent it one of its early nicknames "workshop of the world" since at one point a majority of items fabricated utilized tooling or machinery crafted or designed by or in Philadelphia)
  • Are there other sequences in the film to support this?
  • Should I drive to south Philly and see the neighborhood? When is the market open to see the frozen meat? Should I run the steps of the art museum? (The answer is YES)
  • (For those not doing a city that is easily accessible) what other imagery, documentation, views can I access that will give me insight into the particular city? Street view? Another film? Other media? Spaces in the city I am in that are similar?
  • Most importantly: what academic resources can I cite when making these observations? (To include in and build my Bibliography)

Term Paper Homework Assignment for Next Week 9Due April 6th @ 9 PM EST):1. Please choose one sequence of your film and dissect it similarly to the example given above - min 500 words.
2. Write your analysis and include at least three images or film stills which exemplify the sequence you are discussing.
3. Provide at least one additional image which is not from the film
4. Provide three resources of any academic type which will help elucidate more information for your analysis that you can utilize either as a direct reference or for background information.
5. Submit this text, imagery, and reference information as an organized single PDF file via email to Prof. Hart no later than next Wednesday April 6th at 9 PM EST


Some links to resources used in this posting:
Map of the run:
http://www.phillymag.com/news/2013/09/18/rocky-training-run-rocky-ii/
Stair running sequence:
https://m.youtube.com/watch?v=NubH5BDOaD8
Images of Rocky running
http://www.slate.com/articles/business/metropolis/2015/12/creed_like_every_rocky_movie_is_remarkably_clear_eyed_about_poverty_in_philadelphia.html








Tuesday, March 22, 2016

HFC S2016: The Baroque

This week's topic of study is a stylistic, intellectual, engineering, social and cultural vaulting forward the Baroque.

As we move closer to the end of the semester - and continue moving towards more contemporary history - the 'echoes' of design ideas will start to have more notable implications on the city around you. We have been looking for these echoes all semester long, and will continue to, but where the echoes may have been traces they will become more pronounced, and can be interpreted in increasingly different ways.

To further add to the stew of history, layers of time, design and thought each contemporary time period builds on it's own interpretations of the past. Just as the Romans built up from Greek and Etruscan culture, just as Medieval cities organized themselves around the bones of the Roman Empire, and the Renaissance revitalized and re-engineered itself - the Baroque took the flourish and energy of knowledge found in the Renaissance and in a critical mass of design, art, skill, talent, and exuberance applied the eras of the past, reinterpreted and expounded on them. This period in history saw ideals of design formulated in the Renaissance promulgate across western culture, seeding cities with ideas. However these ideas where most prominently enacted in buildings, sculptures, monuments, highlights of thought speckling the landscape of the city. The Baroque (in addition to being characterized by the lavish detailing of its architecture and art) saw the application of ideas not just scattered but spread across broad swaths of numerous cities and towns. The Renaissance renewed the sense that thought and planning could effect and shape spaces - the Baroque saw this rigor applied in a modern sense at a new level.

Rome, our old friend, serving yet again as our experimental barometer of city design, saw it's landscape transformed yet again during the Baroque period. There are various examples to choose from but perhaps the most approachable transformation is the landmark of St. Peter's Bascilica.
Variations on the design of St Peter's Basilica in Rome from it's initial planning to final form, through the hands of various designers.
The building that stands today was conceived of in the mind of a very Renaissance Michelangelo, which was transformed as it was built and completed into the image which has lasted until today with it's very Baroque fronting piazza.
Superimposed images showing he various uses and changes that have be built over the course of Rome's history - including etruscans, roman republic, roman empire, the first edition of St Peter's, and the current, Baroque space that currently occupies the space -  Normally we think of cities as static and unchanging, when in fact they are slowly and constantly evolving!
  This urban space creates a very important clearing and gateway - breathing room between the fervor of the streets and the church entry but at the same time does not separate it from the city instead lacing it into the neighborhood. This idea, and design was brought about by one of the most Baroque minds, perhaps of all, Bernini. While we are discussing St. Peter's let us not forget to mention Moderno's facade a design with a foot in both worlds which translates between the two designs (piazza + basilica), minds (Michelangelo + Bernini), and eras (Renascence + Baroque).

Baroque is best understood by being in the space and moving through the spaces as it is made up of shifting proportions, three dimensional sculptures and buildings which push and pull at the streetscape. Architectural visualist Piranesi (whose work we have seen earlier) published a series of very famous veduta or 'Views' of the city of Rome - a kind of Google Street View of his own day. Look at this example of St Peter's, below:



Google Street View allows us the power to 'walk' around in many of these spaces and expeirence Baroque space the way it was intended - by moving through it in a constantly changing and designed urban perspective.

Here are some suggested spaces to help you formulate your answers for the lecture - Hint tour the spaces on your computer, and utilize them as a reference or other spaces in your answers!

  • Piazza Navona (the shape of the former Roman circus track that existed there, noted for it's church facade and fountains)
  • Piazza del Popolo (Piazza of the People, entrance to Rome from the north)
  • Ponte Sant'Angelo (Bridge of the Angels)
  • Fontana di Trevi (Trevi Fountain - a ceremonial and celebratory fountain - a Baroque take on the town well)
  • Piazza di Spagna (The Spanish Steps, another well known frequently photographed landmark)

Your well known weekly task: read through lecture 16 and its questions + engage with your classmates, per our standard terms.

Please post your answer, in a well written paragraph(s) to the question in the lecture here at this post.

All comments are due by Monday March 28th.

Monday, March 14, 2016

HFC S2016: City/Film Combination: Rome and Cinema OR Roman Cinema

Now that we are well into the semester you have built up a base of information, critique, critical analysis and an ability to look deeper into

In this semesters' term paper you are selecting a movie which engages with and utilizes a city during the plot (not just as a backdrop but as an active and engaging element which drives the plot forward - either throughout the film or in an explicit and notable set of scenes) - examples include Rocky and Philadelphia (probably the best example - Rocky would not be the same movie without Philly!), Roman Holiday and Rome, Amelie and Paris, the Battle of Algiers and Algiers.

Rome has often been the setting for a variety of movies which take advantage of the city's spaces not just as a cinematic backdrop but as places of character interaction where the structures of the city and the spaces within it are fully used by the characters - sometimes in rather extreme methods. In perhaps the most explicit and famous example of this during the the film Roman Holiday actor Gregory Peck tricks actress Audrey Hepburn into believing a sculpture of the city has amputated his hand! (interestingly enough while the script had called for the characters to have this back and forth Gregory Peck breaks the fourth wall in his prank of Hepburn).


Continuing our study of Rome and cinema let us look at the movies depicting Rome in the Roman era in one of the most iconic spaces of the city - the Colosseum - as showcased in the movie Gladiator. Work on this movie involved exhaustive and extensive research and recreation of the likely conditions, decoration, and function of the famed Roman edifice. The movie depicted in greater detail than ever before presented the social, societal, and urban functions and space of the iconic building as the beating heart of not just the city but the capital of an immense empire. The grandiosity, the splendor, the engineering feat, the enormity of the space (at the time the largest building of it's time and the largest capacity stadium for centuries until the industrial revolution) comes across in the movie and plays an active role in embellishing the characters. Commodious, the Roman Emperor, is given extra swagger and importance parading through the streets and arriving at his imperial box draped in rich decor, while the sweat and fight of the Gladiator character is made all the more visceral as he battles lions, other warriors, all under gaze, cheers and jeers of the roman audience.

Several scenes (presented below via youtube links) offer demonstration and illustrations which elucidate this thesis. Watch the imagery and think about the vocabulary developed thus far this semester and how it can be applied here - bringing groups of people together in a settlement, sacred and profane space within the city, sacred etruscan sites, roman organization and engineering.

In this sequence the Gladiators enter the arena from the lower dungeon spaces where training and equipment is held, suddenly crossing the threshold they are front and center in the spectacle of the space, the close dark spaces of the stone hallways contrasting against the wide open golden sunlit spaces of the arena. The grit, sweat, and tense energy are palpable. This was the entertainment of the age, not unlike a 3D movie with CGI special effects of today - and the designers of the Colosseum continually added to and changed the infrastructure of the arena - adding trapdoors, hoists, and new spectacles of show to entertain their audience, in this scene mounted chariots ride into the arena in a mock historical battle of Egyptians versus infantry.



The grandeur of the promenade street of ancient Rome leading up to the Colosseum from the Roman Forum is on full display as the Emperor Commodious arrives at his celebratory games at the arena. The imperial colors - purple - a very expensive and difficult color to produce in that time are unfurled and lavishly draped, immense crowds and marching soldiers demonstrate how big an event this is (in comparison to the paltry crowds in the smaller arenas shown earlier in the film) this is no doubt the Super Bowl of its time.



In a watershed moment in the film, just before it's climatic finish, the Emperor and the Gladiator meet on the arena floor - the scales of the empire clash in the ultimate pairing of the sacred and the profane spaces and personalities - The Master and Slave, the Entertainer and the Entertained, the Ruler and Subject. There some historical truth here, one of roman Emperors did in fact battle in the Colosseum - which was considered an outrageous and scandalous (imagine the president deciding he will be playing quarterback in the Superbowl!) Likely the emperor never met a Gladiator in this manner - but cinematically this scene would not be half as powerful without the setting of the biggest arena in the world surrounding it on all sides while the camera rotates around the characters.

When choosing and reviewing, and re-reviewing your film/city you will need to closely watch the film, select key sequences (such as these) to analyze and call attention to key moment and details that illustrate your knowledge (beyond mere plot summary) and you will have to augment your arguments by researching both the city and the creation of the film (utilizing maps, historical city data, and cinematic production information) to support your own thesis.

If you have not already you will need to select a film/city combination and email your choice to Prof. Hart and begin watching (and re-watching) your film while taking screen captures, notes, and beginning to select key sequences to utilize in your paper.

Since you will need to view your film multiple times over the remainder of the semester it is highly recommended that you purchase a copy of the film (Blu-ray, DVD or digital download) so that you can review the film as needed and to the fullest extent necessary.



HFC S2016: Lecture: Rome and the Romans

This week it's all about the Romans.

View of the Colosseum during the Renaissance by architect and etcher Giovanni Battista Piranesi (we will look at his work again during our discussion of other epochs of the city of Rome) - done as a series of etchings and prints made into a book showcasing not only the state of the roman ruins but also imagining maps and the extents of gilded age of the Roman Empire.
Last week we had a discussion on the Roman precursor culture, the Etruscans. This week we delve into Roman culture as it affected the idea of 'the city' - an idea and organizational structure that spread across Europe as the empire expanded.

Rome was the home of the Roman Empire, but being a city with roots older than the Republic or empire it is roman in its architecture but not in its form or planning (which are more true to the Etruscan roots!) However the grandiosity of Rome is more viewable and able to be experienced more easily than ever through modern technology - see this link for a fly through of a 3d rendering of the city - As you watch be critical: What urban elements can you see which are decidedly etruscan? What are Roman?

Something to look for is Roman Empire's organizational ability - infrastructure, armies, politics, and city planning. Roman legions were divided up evenly in sizes, and housed evenly in blocks, these blocks extended in turn structured the encampments and permanent structures around the encampment. As the legions spread the will of the empire, so did this organization. Many famous European cities have their roots initially serving as built up areas around the legion's camp providing services to the garrisoned soldiers.

But this is only one means of influence, the highly rigorous structures of the roman empire interfaced with existing terrain and human habitats - most famously in Rome itself, the Tiber River and the seven hills of Rome. Rome as a city existed and grew organically in a flotsam of expansion, later roman city planners would redevelop in an attempt to reorganize the hierarchy of streets into an ordered whole (watch this closely, because these attempts do not end with the Romans, hint hint for future lectures). Other existing cities had roman additions, sections, portions or 'new' towns designed added or expanded during their roman citizenship as well (Paris traces its history to a small permanent roman settlement, Frankfurt's central market square still exists where its Roman market stood - both of these examples where small roman settlements which have since grown to the large cities of today).

The Roman legion's famously encamped in large gridded tent-cities, which would gradually be made more permanent depending on how long the soldiers were stationed, it makes sense then that these military settlements formed the nucleation point of new civilian habitations, and may cities in Europe, and the Mediterranean grew from these early grid camps. Looking for the right patterns in aerial photography it is possible to find the shape and size of a original grid in the neighborhoods of a various towns and cities. One example is the town of Timgad located in what is present day Algeria.

The city of Timgad, located in what is now Algeria, shows it's Roman roots in this plan which shows both the built and 'ghost' blocks of where the initial legion encampment was placed which later became brick-and-mortar dwellings. For more information and satellite imagery and another example of a roman era grid settlement check out this link.

Read through lectures 13 + 14 + 15 and their questions (mandatory) + engage with your classmates, per our usual terms (class participation).

***When possible, please delineate your answers for each lecture with a separate post***

Questions for lectures 13 + 14 are below, questions for lecture 15 are included in lecture 15.

Optional Extras:
Can you see today where the city guard was encamped, just outside of the city of Rome (the roman army was not allowed to enter the city)? How is this different from the other roman plans for the city?

Can you find any other cities like Timgad that might have started or show the remnants of their Roman-grid plan? What other cities or towns, not mentioned in the lectures, have a Roman organization, echoes or ghost-planning in them? Explain why you think it is of roman influence and provide a link to imagery or a map pin so others can see.

For example Turin has elements of the roman grid plainly visible (marked in the image by the super imposed square) in this image from the late Renaissance and early Baroque era:




All comments are due by Monday, March 21st.

Tuesday, March 8, 2016

HFC S2016: Lecture 11+12: Enter the Etruscans

An exterior exposure of a Etruscan Tomb
Last week we discussed the City of Delos, and how it became a new idea for city organization. This week we continue on our historical look, but rather than just look at an organizational plan we are also interested in the effect a culture can have on its place.




Interior of an Etruscan tomb (a different location than pictured at start of post)

The Etruscans are probably most noteworthy for the inspiration of a progeny culture we know as the Romans. Combined with the perhaps more well known connection to the Greeks, Etruscans lived on the same lands (and for a time alongside the Romans) an occupied and began building permanent traces and manifestations of organized society - and culture. Not just Temples, or permanent military encampments, but also homes for cultural institutions, ideas about building methodology, and developing their own expression of style. Etruscans served as a precursor and a competitor that would eventually push the younger Roman culture to the forefront.

Ultimately history tells that Etruscan society was slowly adapted, enveloped and became a part of an ever expanding Roman Empire - but not before laying foundations which can still be read if you look closely. While reading the lecture, look to see if you find Etruscan influences, not just on the Romans (f.y.i. our next section of study) - has the Etruscan influence has reached even further?

Again, here is another suggested question (optional) you may consider while reading, to get the gears turning:

Are there elements in our urban environments that you might trace to an Etruscan influence?

Comments are due Monday Mar 14th

Monday, February 29, 2016

HFC F2016: Lectures 9 + 10 Delos; Part 2

Please note special directions regarding Lectures 9 + 10 which will be collected over the course of  two blog posts.

Please post your comments here for Lecture 9 first on the appropriate blog post, and the the comments for Lecture 10 here.

(Early comments earn give all students more traction for course participation, comments this Lecture are due on Friday, for Part II by Monday, see each post for specific details)

Study of Delos: Part 2

Question for Lecture 10
How do American cities resemble Hippodamus's?

(excerpted from Part 1)
...This question may at first seem as though it can be answered in a few short comparisons - but I challenge you to look deeper in the planning and the evolution of Delos in your comparisons!! Be explicit, use the language we have developed thus far through the semester and apply it to an american city of your choosing. Be diverse - if someone has already chosen a city move on to look at another - what can you tell by the shape, historical maps, and the way that it has grown and built over time?

Reference the planning, generation, extension or build out of a the history of a specific American city - why do you think this system was chosen?

Hint: (There are MANY potential candidates that have followed the the grid, or the axial road system)

Comments for Lecture 10 Part 2 are due by Monday March 7th