To Yasser Talal Ibrahim Abualfaraj, who was robbed of the time to leave a deeper mark on life. To Richard Sennett, whose grace of writing and teaching opened my eyes to some of the topics that this book is trying to address. To my dear Louise, who is now able to read this. To Rita and Konrad, who will soon be able to read this.
DESIGNING CHANGE Professional Mutations in Urban Design 1980-2020 Eric Firley nai010 publishers
Contents Foreword 6 Introduction 10
CHRISTOPHER CHOA (AECOM), London 16 Reconciling Opposites Al Shamal Masterplan, Qatar 36 Riyadh Airport City 40 Global Palestine – Connected Gaza 44 BRUNO FORTIER (Agence Bruno Fortier), Paris Nature and Artifice in the Production of French Urbanism Île Feydeau, Nantes Masséna-Chevaleret, Paris Brest Capucins
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FINN GEIPEL (LIN), Berlin The Emergence of a New Type of Urbanity Cité du Design, Saint Étienne Grand Paris Métropole Douce Urban densification and innovative living through serial timber construction, Bremen
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68 72 76
114 118 122
ADRIAAN GEUZE (West 8), Rotterdam Contemplating the Squatter Legacy as a Reminder of Urban Diversity Borneo-Sporenburg, Amsterdam Strijp-S, Eindhoven Toronto Central Waterfront
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DJAMEL KLOUCHE (AUC), Paris Digital Acceleration and Environmental Restraint Fives Cail, Lille Pleyel-Landy Sector, Saint-Denis Tangram, Paris
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WINY MAAS (MVRDV), Rotterdam Mission Impossible Ypenburg-Waterwijk, The Hague ZAC Bastide Niel, Bordeaux Oosterwold Freeland, Almere
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148 152 156
180 184 188
226 230 234
DENNIS PIEPRZ (Sasaki Associates), Boston North-American Campus Work from the 1980s onwards University of South Florida Master Plan, Tampa University of Pennsylvania Penn Connects, Philadelphia Tecnológico de Monterrey Urban Regeneration Plan
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ELIZABETH PLATER-ZYBERK (DPZ), Miami A Recent History of Zoning and Design Codes in the US Charleston Place, Boca Raton Kentlands, Gaithersburgh Miami 21
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258 262 266
292 296 300
ALBERT SPEER (AS+P) with MICHAEL DENKEL, Frankfurt 316 The German Way of Keeping the Power Balance in City-Making Europaviertel, Frankfurt 338 Städtebaulicher Masterplan Innenstadt Köln 342 InnovationCity Ruhr - Modellstadt Bottrop 346 PAOLA VIGANÒ (Studio Paola Viganò), Milan Concrete Descriptions of Future Situations Plan for Prato De Hoge Rielen, Flanders The Horizontal Metropolis, Brussels LIU XIAODU (Urbanus) with WANG HUI, Shenzen China as a Place of Attainable Utopias Tulou Collective Housing, Nanhai Shum Yip UpperHills Loft, Shenzen DenCity – a reachable Utopia WENYI ZHU (ZhuWenyi-Atelier), Beijing From Triumphal Arches to QR Codes Green Field & Lane, Shanghai Guangzhou University City Group 3 The Water-Line, New York City
354 372 376 380 394 402 406 410 430 452 456 460
Interview text analysis 468 Epilogue 478 Index 502 Bio 511
Foreword by Regula Lüscher
The urban designer is just one participant in the process of citymaking, but it is impossible to make the city without the urban designer, because of his ability to transform societal goals and programmes into physical form and space. This simple recognition predestines him or her to a leading role, one that arguably should be further strengthened. The question, however, is how? How can we use the urban designer’s knowledge and work methods to improve the outcome for the citizens, and to better defend the common good? Designing Change approaches this question through international comparisons of not only case studies, but of viewpoints, in placing particular emphasis on the interface between politics and urban design. This drew my attention, also because it reflects parts of my own history. As a Swiss, and trained as an architect, I came to Berlin 11 years ago, invited to head the urban planning and building department, and to become a professional politician with the title of a state secretary at the same time. My contribution to Berlin is quite specific and has to do with international exchange but just as much with discussion culture. I was socialized in a Swiss participatory democracy in which citizens vote on many issues directly, a practice that is much less common in the German representative system. This experience enabled me to advise the city administration in financially highly precarious times in which topics such as participation and self-organization had become a necessity. Today, this trend continues and is as relevant and topical as ever. In my office, rather than to design buildings or masterplans, we design, adapt, and try to perfect the processes that translate the needs and political will of the citizens and stakeholders into lived reality. This requires precision and experience, but also resources, for which I constantly have to fight.
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In my opinion the originality of this book lies in its insistence on not only the multitude of implementation processes, but on the pluralism of opinions, and opinion making in general. How do we know what we want, and under what conditions are we inclined to rejoin dissenters? Designing Change suggests that a healthy and informed debate about the city can contribute to this phase that precedes the one of implementation. The new generation does not see the world in terms of party politics anymore, neither do they use the media and public sphere in the same way as their parents. New tools have to be invented to satisfy an ever-growing appetite for co-determination in all sorts of societal aspects, including the built environment. Regarding my own convictions, after twenty years of work in the public sector—first for nine years in Zürich and now here in Berlin—I have come to realize that an unrestricted market economy and forces of globalization, for example in the form of real-estate speculation, make it almost impossible to defend land against individual interests in favour of the common good and the needs of minorities. Currently, Berlin attracts investors from all over the world, but a substantial part of the population cannot cope with the resulting rise of rental costs. Our city government, a red-redgreen coalition, has therefore been empowered by the people to experiment with tools that differ from the economically liberal ones. This is the policy that I have and want to implement, but I am aware that not everybody with whom we make the city shares this viewpoint. Agreement can therefore only be found by applying a healthy debate culture and a mutual willingness to compromise. This, among more practical and programmatic points, is also linked to what I call ‘shared authorship’, a concept that is not always welcomed by people who follow a formalistic approach, or who still use Berlin’s urban fabric as a battleground for ideological disputes, universally preaching for or against the symbolic reconstruction of the pre-war morphology, without further consideration of the everyday qualities that urban design is supposed to deliver. 8
In this highly complex context I perceive my role as a guiding and advising one, between citizens and stakeholders, but also in support of the experts who bear the necessary knowledge to turn intentions into spatial plans. On the following pages, twelve of these experts share their experiences with us. Some of it is highly inspiring, some of it does not reflect my own convictions, but the overall mixture is very useful.
Regula LĂźscher Senate Director of Urban Development of Berlin Hon. Prof. Berlin University of Arts September 2018
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WINY MAAS MVRDV, Rotterdam
INTERVIEW 210 Mission Impossible Of Avant-garde and Spectacle in Urban Design Winy Maas
PROJECTS 226 Ypenburg-Waterwijk, The Hague
230 ZAC Bastide Niel, Bordeaux
234 Oosterwold Freeland, Almere
WINY MAAS
Mission Impossible – Of Avant-garde and Spectacle in Urban Design How many ‘Starchitects’ can present a genuinely balanced portfolio between architectural and urban work, including academic research projects and publications? Winy Maas, one of MVRDV’s founding members, with degrees in landscape architecture, urban design, and architecture, is the profession’s jack of all trades. The following discussion revolves around this unusual phenomenon of disciplinary complementarity, particularly regarding the translation of the firm’s decidedly expressive, if not ‘spectacular’ architectural language into the more process-oriented realm of city-making. Maas situates his work and attitude in a wider historical context between structuralism and postmodernism on the one hand, and new societal realities and technological possibilities on the other.
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MISSION IMPOSSIBLE
Eric Firley: In preparing for this interview, while looking again at various of your projects, it struck me that several times when I first saw them in a magazine or on the internet, I thought that they could not be real and that they would never be built. Specifically, the Expo building in Hannover, the market hall in Rotterdam, and the Chanel store in Amsterdam. It’s quite astounding, this continuous quest of the spectacular. Now, where it becomes interesting in the context of this urban design discussion is that I had a similar reaction to some of your urban proposals, like Freeland and Mannheim, even though they described a process, rather than an architectural shape or product. Were they playing within the same register? I don’t know, but for me these examples raised the question of the differentiation between the spectacular and the conceptual, the first one being situated in a more visual realm and the latter one in the realm of ideas. And I thought that parts of our work as architects and urban designers is to make the link between the two, in relation to various contexts, scales, and audiences.
Winy Maas
Winy Maas: I agree that this is a promising topic, but I would add that the spectacular is very temporary, always. As soon as it is achieved, it is already taken for granted. This happens quite quickly. Take Norman Foster’s impressive Viaduc de Millau. Just recently it has been surpassed in terms of span by a very similar project in China. Things have accelerated. It’s going ever faster. EF: I’m happy that you mention Foster, because I thought of him when I tried to get to the heart of your relation to technology. His work is definitely engineering-driven, but, in contrast to yours, or the way I see it, this includes the architectural expression. The language that he uses in his quest for the sublime definitely originates in structural considerations. That’s not where you are coming from, is it? I guess that many of your buildings need excellent engineering, but you are not drawing too much attention to this fact. You don’t cultivate a technostyle.
Foster’s Viaduc de Millau
WM: In purely architectural terms, I agree. Our fascination with technology is indeed rarely concentrated on the structural expression, even though this can be an important tool. But I do think that we share with Foster some common interests regarding the future of the city. He created a foundation around this topic, just as we did. He also shares some of our interest in global issues. There are not that many architects that deal with globality as a task. Rem Koolhaas did it, and he is one of the few others. That’s why I don’t discredit him as if he had an exclusively technical approach. But I see what you mean. The spectacular comes in in another way, even when you look at his project for the Reichstag in Berlin. The question is, why do we differ in this? Why did Foster never make a market hall? How to define the spectacular, if it occurs in so many distinct appearances?
The spectacular is very temporary, always. As soon as it is achieved, it is already taken for granted. This happens quite quickly.
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WINY MAAS
EF: For me, Foster provides precise answers through spectacular structural solutions, but he is not looking to make statements or to raise societal questions. And that’s how I read your Expo building, the market hall, and even Chanel. The scale does not really matter, because each of these is a prototype that represents a somehow experimental way of experiencing the city.
Cover of Copy-Paste
A possible outcome of Freeland (Oosterwold)
WM: We just published the book Copy-Paste, which is about evolution, not necessarily in the meaning of better or worse, but as the inclusion of things that are needed as part of a zeitgeist momentum. It’s not just a question of technological progress, even though this is an important ingredient. These are topics that we are trying to address, and I guess that it is fair to say that we often do this with the tool of the remarkable, or the spectacular, if that’s the term you prefer. It’s a fusion between the prototypical that you just mentioned with a landscape attitude that seeks to provide every object with a strong relation to the context and the larger scale, hopefully the visionary scale. EF: The projects mentioned above are architectural projects with urban implications. That’s one thing. How does your actual urban and masterplanning work fit into this? Can you tell us, for example, about Freeland, this new bottom-up development on the outskirts of Almere, where future residents have to follow only a minimum of administrative rules? From what I understood, people can buy a plot of land of their chosen size and use. Even the street grid has not been predefined.
WM: Yes, right now it is under construction. The first 150 plots are sold, 50 homes are inhabited and 1000 plots of the available 15,000 are now under negotiation. There are 80 small initiatives working on it right now, each of them being made up of groups of 10, 20 or 50 people. There is a lot to see in this first phase, and parts of the experiment are legal aspects. At this stage, for example, they are figuring out how to build roads collectively. EF: If you say groups of individuals, does it work similarly to the Baugruppen in Germany, a type of co-housing scheme in which private people team up for the construction of a multi-family structure?
WM: Yes, but it is not limited to that model. It’s fairly complex, but it will become much easier with time, when the next group of initiatives can rely on what has been elaborated by the first movers. You should meet with the area director who organizes it. She is fantastic. She has been appointed by the municipality and does this with a tiny team. What’s interesting in terms of process and finances is how the first pioneers pay for that organization, and with 80 teams that is feasible. The money that people are investing is partly dedicated to that kind of collectiveness. Normally, urbanism should do this, or cities, but here everything has to come directly from the bottom. It is very bottom-up. I have to admit that
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Almost everybody wants to do something new, something optimistic. It is key to find out what kind of hippie-like feeling you can construct out of that.
MISSION IMPOSSIBLE
I had not thought about that aspect when we started. That’s all happening as we speak. It’s very exciting. EF: Absolutely, and I have to come back to my previous observation: when you sent me the short video, some kind of process trailer, or cartoon, I could hardly believe that you would actually turn this into reality, have people team up and apply for a piece of land of their choice, assure that they would become ecologically sustainable, solve the mobility issue, how to design the spatial transitions, and so on. So, if I see some of your projects, and I don’t mean this in a negative way, there is something about people who are able to take on ideas of a student project and make it happen. This is quite extraordinary. How do you do this? The world is full of architects or urbanists with outstanding ideas, but very few seem to be able to implement them. What’s your secret?
WM: There are a couple of things: one is the network. We have been doing this for quite some time now, and we know how to collaborate. We are not easily intimidated by anything anymore. And there is also the educational aspect, what you wish and want, and the will to invest time in repeating, testing, collaborating, and also inspiring. I mention this, because this is a specific zone that you have to know how to address. There may be some cynical people, some Célines among us, but in general these days almost everybody wants to do something nice, something new, something optimistic. It is key to find out what kind of hippie-like feeling or optimistic component you can construct out of that. But it’s also about being open-minded, and frankly speaking, come on guys, we don’t come together to make boring stuff. Let’s not waste time! EF: If you speak about networks and collaboration, does it also have to do with specific competences? I had a look at a little book with the title Reading MVRDV, a collection of essays from 2003. Several of these underline your early use of data in the process of architectural creation. Is this still an important component?
WM: I think that data is one of the cornerstones, but I would not say that it covers everything. Data can indeed be very helpful in larger processes, to have statistic proof. It tends to neutralize things a bit, because, who can be against evidence, right? That’s one thing. But I am also aware that statistics on the future don’t exist. So, you find yourself in a logic of trends. That’s also why I indicated, in the book City Shock, that trend breaks are important. We have all become aware that an apocalypse can happen, and that things will change. But the discussion on resilience, to give just one example, has both positive and negative aspects. The positive part is that you are actually thinking about the future. The negative part is that many people translate this into protectionism. You don’t know what to expect, how to forecast. But how to deal with this non-expectancy? This in turn leads to other approaches, to other
Data can be very helpful. But I am also aware that statistics on the future don’t exist.
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WINY MAAS, PROJECTS
Name: Ypenburg-Waterwijk Place: The Hague / Netherlands Size: 6 ha Type of project: masterplan, architectural design of three sub-districts Date: 1998-2005 Client: Amvest Type of commissioning: developer competition Ypenburg, an early project of MVRDV that contributed to the practice’s international rise, appears almost like a finger exercise in urban design and what it can do to architecture. In one case, a row house archetype was stripped bare and manipulated spatially, and in the other one, the stereotype of the gated community was mocked by the creation of a virtuously innovative low-cost alternative. Background / Site: MVRDV’s masterplan for YpenburgWaterwijk defines the development rules for a sub-district of the vast Ypenburg zone, situated on the land of a former airfield on the boundary of The Hague. The project is an outcome of the governmentbacked Vinex programme, which— in view of a looming housing shortage—distributed substantial incentives to local authorities for the development of new residential districts, since the early 1990s. In order to control the impact of these projects on the territory a set of principles was established, including compactness, the preservation of open land, social mixture, and architectural diversity. In order to minimize traffic movements, the new neighbourhoods were meant to be situated in proximity to transport infrastructure, as well as existing work and leisure centres. The masterplan for the whole area of Ypenburg of 505 hectares and 11,000 new homes was done in 1994 by the architectural firm Palmboom and Van den Bout. Project description (aims/uses/ principles): The Waterwijk masterplan, conceived for 800 homes, is made up of five geometrically aligned small islands, connected by short bridges over canal-like watersheds. For the development of this specific subzone, also called Ypenburg partial plan 10, the city decided to organize a turnkey developers’ competition that Amvest won on the basis of a financial offer and
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MVRDV’s urban proposal. In view of a potentially saturated market, the project’s explicit aim was to offer something different and varied, based on the limitations of a density of approximately 30 units per hectare, too low to create a genuine urbanity, but too high for real green. Two of the islands, Patio and Hagen, together with eight additional water villas, were fully designed by the masterplanners, while the rest was architecturally detailed by the offices of Herman Hertzberger, Bos, and Claus en Kaan, according to MVRDV’s masterplan prescriptions. Patio and Hagen islands, typologically very different, share a ring road with exterior parking in order to fully pedestrianize the residential core. Hagen island, with 50 per cent subsidized rentals the socially most modest part of the development, plays virtuously with the row house typology in breaking the usual continuity and shifting groups of two to four houses back and forth. The outcome provides new spatial and visual relationships and liberates the inhabitants from the dullness and claustrophobia of the standard row house setup. Architecturally, this is underlined with a Monopoly-like ‘non-detailing’ of the building masses, without gutters, and just one colour and material for each type, including the roofs. In contrast to the almost ironic simplicity of the homes stands the variety and delicate nature of the landscaping, including glazed storerooms that can be used as green houses. The overall result, familiar and strange at the same time, is
remindful of an old-fashioned village where each object sits in space, like cottages in a park. On Patio island MVRDV plays a very different game, the one of a gated community, if not bunker. It consists of a dark monolithic building mass that measures 69 by 135 meters, and is internally divided into 12 rows, with 4 houses per row. Access to the interior two units is through a privatized corridor along the peripheral units. Each house features an elongated patio on the full length of its lot, allowing all spaces (bathroom, kitchen, sleeping rooms) to be both fully glazed and fully privatized. Unlike a traditional courtyard house, where the rooms are disposed on several sides of the courtyard, allowing for a multitude of vis-à-vis, the views of the Ypenburg model are oriented one-directionally from the inside towards the blind exterior wall and the void in front of it. The typology’s extreme introversion is loosened with a roof terrace and the fact that the second storey allows direct views towards the sky because of the slope of the slated roof. On another island, dedicated to water living for literally each unit, MVRDV, as part of their masterplan contract, reserved eight valuable corner lots for their own architectural implementation, designing a contemporary version of a traditional longhouse. In keeping the idea of social mixture, these structures are fairly luxurious, framed by large wooden terraces that further widen towards the extremities of the jetties that carry the building masses. They
YPENBURG-WATERWIJK / THE HAGUE / NETHERLANDS 1
are entirely made of wood, except for the window frames, but include a very dominant pitched roof with large skylights for the second-floor spaces. Landownership: After the airfield ceased its activity, the land was acquired by the city of The Hague. For the development of the project, it was later sold to Amvest.
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1 Ypenburg Masterplan 2 Bird’s-eye view
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WINY MAAS, PROJECTS 3
4
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3 Bird’s-eye view of Patio Island 4 Exterior façade of Patio Island 5 A private patio
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6 Zoom into Patio Island Roof plan 7 Roof terrace in Patio Island
YPENBURG-WATERWIJK / THE HAGUE / NETHERLANDS 8
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8 Bird’s-eye view of Hagen Island 9+10 Hagen Island
11 Bird’s-eye view of Water Villas 12 The Water Villas are surrounded by private exterior space.
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ELIZABETH PLATERZYBERK DPZ, Miami
INTERVIEW 282 A Recent History of Zoning and Design Codes in the US Societal Revelations Disguised as Administrative Trivialities Elizabeth Plater-Zyberk
PROJECTS 292 Charleston Place, Boca Raton
296 Kentlands, Gaithersburgh
300 Miami 21
ELIZABETH PLATER-ZYBERK
A Recent History of Zoning and Design Codes in the US – Societal Revelations Disguised as Administrative Trivialities Together with her partner Andrés Duany, Elizabeth Plater-Zyberk leads the Miami-based firm DPZ. As a major figure of the New Urbanist movement, and later Smart Growth, the former Dean of the University of Miami School of Architecture has changed the way many Americans perceive suburbia and the production of the built environment in general. She uses this interview as an opportunity to recapitulate her own development in the field—pushed into the planning realm more by chance than by design—and helps interpret zoning regulations as societal markers rather than just administrative features.
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A RECENT HISTORY OF ZONING AND DESIGN CODES IN THE US
Eric Firley: It seems safe to say that, over the last 35 years, there have not been many people in this country with a comparable impact on the evolution of zoning and design codes as yourself. But for many architects this topic is considered to be one of planning, rather than an architectural one. So, my simple first question is: how did you get there? Is your educational background in planning or in architecture?
Elizabeth Plater-Zyberk: I am an architect by education. My four-year undergraduate degree was a major in architecture and urban planning at Princeton. The ensuing master at Yale was in architecture. The knowledge of zoning and codes was later acquired in our professional practice. At Princeton, Ken Frampton taught a course on 19th- and 20 th-century urban form, but there was little focus on what was to influence our subsequent career. The progressive era, the garden city, that was excluded, even then, in the ’70s. We heard more about the modernists, the inventions of the 20 th century, Soria y Mata and Hilberseimer. The 19th century was essentially limited to the utopians, with a bit of Camillo Sitte for the remaking of Vienna. I don’t remember hearing, for example, of John Nolen, or Unwin and Parker.
Elizabeth Plater-Zyberk
EF: So where did the motivation originate to delve deeper into citymaking, to acquire a more comprehensive picture of how to build communities? And why this early interest in suburbia?
EPZ: We [Elizabeth Plater-Zyberk and her husband and partner Andrés Duany] moved here during the oil recession of the ’70s, when Andrés was hired to teach at the University of Miami. The suburban work started because we were in Miami. That’s pretty much all there was here—suburbia. There was one highrise in downtown Miami that had just gone bankrupt. No one was investing in the urban core and the only projects being built were on the outskirts: new office parks and housing subdivisions. The housing, mostly ‘California style’ promoted by the builders’ magazines, was the specialty of architects trying to be clever within the limited means for repetitive houses. Someone else was laying out the land plan. This work for the market was derided by the academic world, or at best ignored. We were critical, but increasingly saw it as an intellectual challenge. EF: But this really sounds as if hazard and the geographic location played an important role.
EPZ: Absolutely, it was all about being in South Florida. There was a series of opportunities, a time and a place that were not entirely in our control. We got involved in urban design when our classmates who stayed in the north were designing interiors. Our first masterplan experience was Charleston Place in Boca Raton after Andrés and I left Arquitectonica and founded DPZ (Duany Plater-Zyberk) in 1980. We were asked to design a small
Work for the market was derided by the academic world. We were critical, but increasingly saw it as an intellectual challenge.
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ELIZABETH PLATER-ZYBERK, PROJECTS
Name: Miami 21 Place: Miami / USA Size: The whole city Type of project: Coding Date: 2010 (approval) Client: City of Miami Type of commissioning: direct New Urbanist developments have always promoted walkability, but most of them emerged on greenfield land. This has put them at odds with many critics who see densification of existing places as the only resilient way forward. This is where Miami 21, one of the few form-based codes of a major American city, marks a breakthrough, not only in size, but in societal impact. Background / Site: As a response to Miami’s rapid growth, the City’s Planning Department commissioned Duany Plater-Zyberk for a complete overhaul of its zoning regulations by designing the largest known application of a form-based code. The proposal, officially adopted in 2010, entails a holistic approach to land use and urban planning, broadening the scope of DPZ’s previous experience in the writing of traditional zoning codes, like the one for Kentlands, to the first one for a major existing city. It breaks with the culture of Euclidean zoning, which had, over time, through the layering of innumerable amendments produced a hodgepodge of incomprehensible and partly irreconcilable prescriptions. Rather than providing a coherent vision for the future development of the built environment, the system had become reactive, confining itself to avoiding friction, in both legal and spatial terms. The principle of separation governed set-backs and uses. Best practices of urban and architectural form were not even addressed, let alone visualized. A development practice had established in which zoning lawyers and those who could afford them benefited most from the situation. Miami 21, building on the experiences made over three decades on the elaboration of the TND (Traditional Neighbourhood Development), the Lexicon of New Urbanism, and the Transect-based Smart Code, proposed in opposition to this a clear vision for the city that was supported by specific guidelines
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and regulations: to address the quality of the public realm, provide a stable environment for private investment, and create a more efficient permitting process. Project description (aims/uses/ principles): Miami 21 proposes dual yet distinct goals of conservation and development. Conservation goals are intended to preserve neighbourhoods and historical sites, create sustainable development through green building incentives, conserve energy through green initiatives, improve connectedness for walkability, increase access to natural environments, and improve quality of life for residents. Development goals are intended to transform corridors to function as transit-oriented centres, ensure a predictable environment for growth and appropriate development, provide a series of public benefits through incentives, and maintain future growth capacity of downtown. Six elements, in particular, served as linchpins in the development of the blueprint: a Form-based Code, Economic Development, Transportation, Parks and Open Spaces, Arts and Culture, and Historic Preservation. The formbased code defines spatial rules for how each building, parking area, and outbuilding has to relate to the street and the lot boundaries. For the residential and mixed-use zones, the code defines four major categories, T3 to T6, that gradually allow for increasing densities and heights, and decreasing set-backs. Buildings in the urban central zones have to
directly address the sidewalk, with uses other than parking. The logic of these categories follows the transect model that visualizes the transition from city centre locations to rural areas. The model is not concentric, with just one single centre, but adjusts to the realities of a polynodal city and the requirements for transport-oriented development (TOD), with high densities around the metro-rail stations and Downtown, where three different rail systems converge. The maximum development area is defined by maximum height and plot coverage, not by FAR (floor area ratio). For the different sub-categories of the densest zone, T6, the city allows for a bonus system by which heights can be further raised through acquiring development rights. The income from this arrangement is invested in amenities of public interest. In order to help preserve historic buildings, the owners of listed structures can directly sell the air rights above their properties. An important feature of Miami 21 is to visualize all these rules as much as possible through easily legible diagrams. Landownership: The zoning rules apply to all properties of the City of Miami, whether in public or private ownership. Sites assembling over nine acres (3.5 ha) of land may apply for a Special Area Plan, enabling re-arrangement of the code’s components to make a place of distinct character.
MIAMI 21 / MIAMI / USA 1
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1 Official zoning map of the City of Miami
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2+3 Explicative Before and After scenario (taken from DPZ presentation)
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ELIZABETH PLATER-ZYBERK, PROJECTS 4
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4 Miami 21 Transect zone diagram in reference to natural transect zone drawing 5 Illustration of potential outcome in T6 Urban Core Zone
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6 Definition diagrams 7 Definition diagrams (type of frontages) 8 Map of TOD zones (Transport Oriented Development)
MIAMI 21 / MIAMI / USA 9
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9 Permitting Process Diagram 10 Example of building placement and height rules for T5 properties
11 Frontage changes across the Transect 12 Detail of zoning map for Little Havana neighbourhood
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INDEX (URBAN DESIGN KEYWORDS)
3D Printing 61, 130, 135, Academia 4, 256, 309, 367, 370 Acceleration 61, 88, 138, 162, 169-173, 175-177, 179, 193, 195, 197, 199, 201-203, 205, 207, 214 Affordable 31, 107, 111, 122, 201, 312, 334-335, 402, 410, 424, 427, 441, 460 Agglomeration 49-50, 53, 61, 65, 81, 91, 98, 118, 184-185, 205, 310, 368 Agriculture/Agricultural 36, 39-40, 121, 134, 139-140, 145, 160, 193, 234, 242, 296, 380, 388, 392, 402, 418 Airbnb 146, 206 Airport 17, 28, 30, 32, 40-41, 43-44, 47, 50, 53, 90, 98-99, 105, 121, 128-130, 143, 166, 202, 250-251, 278, 337, 380 Antiquity 59, 81 Arcade 262 Artifice 57-59, 61, 63, 65, 67, 80-81, 83, 85, 87, 89, 91, 93, 359, 363, 376, 460 Authentic/Authenticity 141-142, 162, 193, 195, 222, 322, 376, 414 Banlieue 91, 109, 118, 126-127, 184 Barracks 76, 222, 230 Baugruppen 11, 111, 212 Beaux-Arts 397, 434 Bicycle/cycling 109, 118, 135,165-166, 202, 219, 337, 384, 417, 451 Big data 14, 206, 254, 350 BIM 111 Bionics 105 Block 40, 65, 67, 72, 76, 87, 184, 186-187, 196-197, 233, 238, 292, 296, 298, 314, 324, 342, 402, 452 Bottom-up 11, 111, 203, 206, 212, 217, 234, 243, 270, 399 Boulevard 36, 63, 126, 141, 152, 156-158, 258, 338, 341, 381 Brexit 23-25, 49 Bricolage 179 Brownfield 72, 114, 147, 180, 329, 338 Brutalist 34, 452 Bunker 102-103, 107, 160, 226 Bus 30, 36, 40, 118, 201-202, 266, 274, 297, 427 Cable Car 76-77 Campus 36, 40, 128, 130, 152, 160, 245-247, 249, 251-262, 266-267, 271, 273-277, 279, 435, 439, 441, 444, 456-457 Car 11, 44, 48, 76-77, 83, 89-90, 109, 118, 141, 145, 175-176, 202, 219, 230, 234, 249, 258, 266, 284, 292, 296, 338, 380-386, 399, 402, 417, 438, 441, 456 Charrette 296, 304-305 Children 20, 23, 136, 144, 320, 387 Cinema 76, 126, 201 Classical 23, 28, 60, 85, 87, 288, 320, 330, 435, 442 Client 14-15, 21, 26, 28, 30-32, 36, 40, 44, 51-52, 68, 72, 76, 90, 107, 109, 113-114, 118, 127, 130-131, 137-138, 148, 152, 169-173, 175, 178, 180, 184, 188, 205, 214-215, 226, 230, 234, 252, 255-258, 262, 266, 270, 278-279, 284, 288, 292, 296, 300, 314, 325-327, 332, 336, 338, 342, 346, 371-372, 376, 380, 390, 402, 406, 410, 425, 427-429, 452, 456, 460 Climate change 15, 80, 145, 217, 314-315, 363, 392, 450 Cluster 201 Code 65, 281-284, 289-292, 296-297, 300, 304-307, 310-313, 332-333, 419, 450 Cohousing 111, 205-206 Collaboration 12, 14, 51, 54, 72, 96, 105, 128, 138, 213-214, 266, 270, 273, 304, 318, 326, 342, 369, 372, 376, 380, 418, 446, 456 Colonnade 459 Column 87, 436 Commission 44, 80, 85, 91, 101, 103, 107, 111, 126, 147, 188, 223, 239-240, 258, 325, 368, 371-372, 376 Communism/Communist 290, 113, 127 Community/Communities 20, 23, 25, 35, 44, 47, 92, 136, 147, 160, 173, 180, 188, 226, 234, 249, 252, 254-255, 258, 266, 283, 296-297, 311-313, 315, 342, 346, 372, 376, 389, 402, 414, 417, 425, 427, 435, 439, 452 Competition 36, 50, 59, 61-62, 66, 68, 72, 76, 80-81, 103, 105, 107, 109-114, 122, 148, 150, 152, 156, 172, 180, 184, 187-188, 195, 197-200, 214-215, 225-226, 230, 234, 270, 318-319, 323, 325-326, 333-334, 336, 338, 342, 346, 368, 376, 380, 428-429, 433, 439, 441-442, 444-446, 450-452, 456, 460 Complexity 14, 44, 65, 72, 87-88, 96, 138, 141, 167, 170-171, 178, 219, 242, 287, 289, 322-323, 364, 367, 428 Compound 26, 40, 416-418, 425
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Comprador 20 Condo 11, 145, 222 Connectivity 17-18, 21, 24, 28, 35-37, 40, 44-45, 50, 76, 90, 156, 185, 196, 202-203, 232, 262-263, 266, 275-276, 296, 314, 380, 407, 419 Consumer 141, 205, 234, 425 Contractor 111, 225, 352 Copy-paste 212, 221 Courtyard 26, 40, 67, 72, 80, 183, 226, 258, 340, 376, 402-403, 405-407, 424, 445 Co-working 199, 410 Crime 63, 143, 266, 417 Crisis 15, 142, 144, 214, 242, 310, 365, 368, 370, 389 Cultural Revolution 397, 434 Customization 11, 217, 406 Cycling see Bicycle Data 13-14, 23, 205-206, 213-214, 238, 254, 334, 350, 371-372, 384, 437, 447 DBFO 30 Debate 12, 15, 88, 90, 101, 113, 145, 173, 197, 252, 267, 296, 309-310, 323, 335, 367, 369-370, 376, 384, 392, 420 Democracy/Democratic 30, 112, 137, 144, 200, 262, 234, 414 Densification 11, 38, 48, 95, 109-110, 118, 120-123, 125, 184, 186, 240, 275, 300, 312, 323, 358 Density 25, 36, 44, 47-49, 53, 65, 88-89, 113, 118-119, 147-148, 184, 219, 223, 225-226, 234, 238-239, 242, 258, 278, 290, 292, 311-314, 373, 382, 384, 395-396, 398, 402-403, 410, 414, 416, 418-419, 422, 452 Developer 30, 72, 80, 107-108, 111, 142, 145, 148-149, 156, 164, 172, 175, 180, 188, 197-198, 202-203, 205-206, 222, 225-226, 230, 234, 239, 242, 284, 288, 290, 292, 296, 304, 306, 310, 312-314, 325, 327, 334-335, 338, 403, 406, 417, 419, 438, 444 Diagram 37, 42, 45, 49, 88-89, 110, 119-120, 124, 150, 173, 186, 235, 237, 253, 258, 260, 263, 267, 276, 291, 300, 302-303, 312, 339, 348, 381, 418 Diffuse city 384, 386, 391 Digital 11, 82-83, 90, 169-171, 173, 175-177, 179, 193, 195, 197, 199, 201, 203, 205, 207, 371, 415, 425, 445, 447, 450-451 Digital fabrication 11 Discontinuity 61, 63, 66, 80-81, 83, 87, 131 District 25, 40-42, 50, 65-67, 72-73, 76-77, 80, 82, 128, 130-131, 146-148, 160, 176-177, 180, 182, 184, 187, 195-196, 198, 201, 218, 222, 226, 230, 255, 262, 266-268, 273, 277-278, 289, 292, 307, 313-314, 325, 327, 336, 338, 342, 346-347, 349, 368, 406, 416, 418, 425, 429 Dock 143, 160, 166 Ecology/Ecological 15, 80-81, 114, 118, 139, 145, 170, 172, 175, 177-178, 203, 207, 218, 230, 238, 258, 271, 273, 296, 315, 327, 348, 350-351, 360, 362-365, 380-381, 392-393, 410, 426, 456 Economist 26, 53, 58, 61-63, 65, 196, 200, 203, 291 Education 11, 14, 192, 250-252, 256, 262, 266, 283, 319, 376, 426, 434 Elite 127, 288 Employment 72, 199, 202, 214 Energy efficiency 122, 230, 336, 346, 350 Engineering 15, 18, 139-140, 211, 255, 258, 275, 291, 326, 337, 352, 384, 418, 456 Entertainment 34, 52, 402, 460 Exhibition 61, 76, 87, 100, 239, 285, 322, 338, 406, 410, 445 Expo 32, 211-212, 214, 216 Façade 26, 27, 36, 65, 87, 114, 116, 122, 124, 149, 152, 166, 192, 205, 228, 230, 323, 376, 406, 449-450, 457 Factory 48, 60-61, 112, 114, 122, 124, 152, 160, 180-183, 198-199, 321 FAR (Floor Area Ratio) 23, 30, 61, 63, 67, 82, 92, 102, 112, 137, 177-178, 180, 195, 200, 225, 249, 254, 257, 271, 275, 279, 289, 291, 300, 330, 333, 364, 369-370, 406, 416, 418, 424, 433, 445 Fee 31-32, 111, 130, 214, 325-26, 332, 336, 429 Finance 30, 312 Flexibility 28, 35-36, 105, 114, 188, 230, 257, 389, 406, 444 Flood/Flooding 68, 118, 121, 230, 380, 393 Floorplan 66, 123, 377 Formalism/Formalistic 8, 321, 323-324 Freedom 26, 141, 147, 162, 164, 172, 200, 203, 239, 242-243, 360, 365, 367, 442, 444, 452 Functionalism/Functionalist 139-140
IMAGE CREDITS
The visuals in this book were provided by the practices discussed in the respective interview and project description chapters (AECOM, for example, for the Choa chapter), or by the author of this book (Eric Firley). The copyright remains with these entities. Others are in the public domain, without author indication. Please find hereafter the exceptions to this rule: Rico Prauss p 9 Christopher Choa p 19, 20 HLW International p 21, 22 mikeydread777 p 24 WEF p 24 OECD Development Centre p 25 Oscar Hinrichs p 29 Benoit Lefèvre (adapted from Bertaud 2003) p 48 Parag Khanna Connectograph p 49 Audible Studios p 55 Editions de la Villette p 59 Xavier Belorgey p 59 Anne Démians p 66, 75 Stephen Rees p 67 SEMAPA p 73 Pierre-Olivier Deschamps p 75 Rainer Zenz p 89 Antoine Grumbach et Associés p 91 8Bar bikes p 98 Mark Healey p 99 Pablo Ibañez p 99 Sean X Liu p 100 Finn Geipel p 102 Jan-Oliver Kunze p 103, 104, 105, 116 Christian Richters p 103, 116 David Boureau p 107, 108 Nikolai Wolff p 110 Karl-Heinx Schindler p 112 François Maisonnasse p 117 GEWOBA p 123 Nikolai Wolff p 125 Ed Lonnee p 135 Fred Romero p 138 Fredrik Linge p 138 Rijkswaterstaat p 139 Bert van As, Rijksdienst voor Cultureel Erfgoed (object number 558.21) p 139 Christian Córdova p 141 Jean-Pierre Dalbóra p 142 Babewyn p 143 Ossip van Duivenbode p 144 Edwin Hoek p 147 Gemeente Eindhoven p 153 FaceMePLS p 154 Lennart Tange p 155 Spoorzone Eindhoven p 155 G.J. Dukker, Rijksdienst voor Cultureel Erfgoed (object number 224.660) p 160 Rob Dammers p 165 Juan Enrique Gilardi p 166 Guilhem Vellut p 166 Kajima Institute Publishing Co. p 172 Soreli p 175 habib kaki 2 p 179 habib kaki 3 p 179 Vijay Kumar Voora p 179 Fives Group p 181 S. Dubussche / Caruso St John p 181 Plaine Commune - Grand Paris p 185 Marc Mimram architecte-ingénieur p 187 Kuma & Associates p 187 Médiathèque Commission européenne, Archives historiques, BDT 291/1991, No 244 p 193 Andrea Firley p 195, 196 Sidewalk Labs, 206 Barbra Verbij p 211 Bernard Pez p 211 NAI010 Publishers p 214 The Why Factory p 214 Rob ’t Hart p 216, 225, 227, 228, 229
Anicius Olybrius p 219 Xavier de Jauréguiberry p 219 Aviodrome p 220 Willem Diepraam p 220 John Hill p 220 Daria Scagliola/Stijn Brakkee p 221 p 224 Louis-Etienne Boullée, 222 Ben Te Raa p 236, 237 Dennis Pieprz p 247, 248, 252, 257, 275, 277 ORO Publishers / Dennis Pieprz p 251 Simon Warren p 252 University of South Florida Archive p 259 Iwan Baan (Courtesy of Diller Scofidio+Renfro in collaboration with Rockwell Group) p 274 Elizabeth Plater-Zyberk p 283, 291 Dover Architecture p 285 Steven Brooke p 286 Sandy Sorlien p 299 Uwe Dettmar / AS+P Albert Speer + Partner GmbH p 319, 335, 352, 353 Albert Speer p 319 media.diamler.com p 321 Bernd Georg (Stadt Offenbach am Main, Offenbach Offensiv e. V.) p 322, 332 Arriyadh Development Authority (ADA) p 327 Dirk Laubner / Aurelis Real Estate GmbH p 329 Michael Stumpfe / gmp · von Gerkan, Marg and Partners Architects p 339 James Steinkamp / Presentation Studios International p 339 Peter Seitz / AS+P Albert Speer + Partner GmbH p 340 Aurelis p 340, 341 schmidtploecker architekten bda p 341 Eibe Sönnecken / Dietz-Joppien Architekten p 341 Paola Viganò p 357, 369, 386 modenatoday.it p 357 Caniggia G., Maffei G.L. (Composizione architettonica e Tipologia edilizia, Marsilio, 1979) p 358 Guido Guidi p 361 Frederik Buyckx / Studio Secchi-Viganò p 362, 378, 379 Photo DR p 364 Paola Nicolin (Castelli di carte La XIV Triennale di Milano, 1968, Quodlibet, 2011) p 367 il gazzettino del chianti p 387 poggio-imperiale.gov.it p 387 Studio Paola Viganò (P.Viganò, M. Stas and C. CavalieriLAB-U EPFL) p 392 Miami University p 397 Kurt Groetsch p 398 Academy Editions p 399 “Image from Street Inquiries” [title crossed out]. Kevin Lynch papers, MC-0208, series 1, oversize folder 9. Massachusetts Institute of Technology, Institute Archives and Special Collections, Cambridge, Massachusetts p 400 Yang Chaoying / Urbanus p 405, 419 Shum Yip Land Company Limited p 407, 408, 409 Sharp Video p 413 Nobuki Ogasahara p 415 Alain Fouraux p 418 Wu Qiwei / Urbanus p 421 Zhang Chao / UABB p 423 Yao Chen p 433 Tate (by Kasimir Malevich) p 435 Bibliothèque nationale de France p 438 Foster & Partners p 439 Google Earth Map p 441
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CREDITS Eric Firley, of French-German origin, is Associate Professor at the University of Miami School of Architecture. He joined the School in 2011, after having worked for ten years in Paris and London in design practices, the real-estate sector and as an independent book author. He studied architecture at the EPFL in Lausanne and at the Bauhaus University in Weimar, before graduating as a city designer at the London School of Economics. Firley is the initiator and co-author of The Urban Housing Handbook (2009), The Urban Towers Handbook (2011) and The Urban Masterplanning Handbook (2013). Text: Eric Firley Copy editing: Leo Reijnen (Taal & Teken) Design: Studio Sander Boon, Amsterdam Lithography and Printing: epopee Paper: Fly 05, 115 gr Publisher: Marcel Witvoet, nai010 publishers We would like to thank the participants for their support of the book. We also would like to thank the University of Miami School of Architecture and Dean Rodolphe el-Khoury for their support of ‘Designing Change’. © 2019 the author, nai010 publishers, Rotterdam. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. For works of visual artists affiliated with a CISAC-organization the copyrights have been settled with Pictoright in Amsterdam. © 2019, c/o Pictoright Amsterdam Although every effort was made to find the copyright holders for the illustrations used, it has not been possible to trace them all. Interested parties are requested to contact nai010 publishers, Mauritsweg 23, 3012 JR Rotterdam, the Netherlands. nai010 publishers is an internationally orientated publisher specialized in developing, producing and distributing books in the fields of architecture, urbanism, art and design. www.nai010.com nai010 books are available internationally at selected bookstores and from the following distribution partners: North, Central and South America - Artbook | D.A.P., New York, USA, dap@dapinc.com Rest of the world - Idea Books, Amsterdam, the Netherlands, idea@ideabooks.nl For general questions, please contact nai010 publishers directly at sales@nai010.com or visit our website www.nai010.com for further information. Printed and bound in the Netherlands ISBN 978-94-6208-481-0 NUR 648 BISAC ARC015000, ARC010000 Designing Change is also available as: Designing Change e-book (PDF) ISBN 978-94-6208-XXX-X
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Over the timespan of just one generation the planet’s pace of urbanization has dramatically increased. Through these dynamics and its resulting environmental threats, new challenges have emerged that deeply question the validity of the post-war planning paradigms. Dominant ideologies have been replaced by a problemsolving attitude, increased economic pressure and an urgent quest for evidence. What impact does this have on the work of the urban designer and planner, and how can the profession prepare for the future?
Albert Speer + Michael Denkel, AS+P, Frankfurt The German way of keeping the power balance in citymaking – gentle mutations within a strong civic society
Designing Change tries to answer these and many other questions through in-depth conversations with 12 leading practitioners in the field, who explain how their work and delivery methods have changed from the beginning of their careers up to today. In these discussions, each participant concentrates on a specific aspect of his or her choice, allowing the book to provide unusually broad insights into the culture of city-making. Seeking to intertwine theory and practice, every interview is accompanied by three project presentations, documenting the stated arguments through project-specific information.
Elizabeth Plater-Zyberk, DPZ, Miami A recent history of zoning and code design in the US societal revelations in disguise of administrative hurdles
Conceived as an unpartisan contribution to the discourse about the future of the built environment, Designing Change offers an unorthodox combination of case-study analysis and theoretical debate that addresses the topic’s complexity through a rigorous focus on process questions, client relationship and development initiative. Eric Firley is a German-French architect and urban designer, whose multi-disciplinary work experience includes project management and development services for the real-estate industry in Paris and London. He is the initiator and co-author of the three books of Wiley’s Urban Handbook Series. Since 2011 he teaches at the University of Miami School of Architecture. naioıo publishers, www.nai010.com
Djamel Klouche, AUC, Paris Digital acceleration and environmental restraint – transforming contemporary client demands into physical reality Wenyi Zhu, ZhuWenyi Atelier, Beijing From triumphal arches to QR codes – changing notions of monumentality in urban design
Adriaan Geuze, West 8, Rotterdam Contemplating the squatter legacy as a reminder of urban diversity – or how to counter the destructive advance of mass culture? Bruno Fortier, Agence Fortier, Paris Nature and artifice in the production of French urbanism – ambiguities of the green agenda Dennis Pieprz, Sasaki Associates, Boston North-American campus work from the 1980s onwards – the university in the city and the city as a university Paola Vigano, Studio Paola Vigano, Milan Concrete descriptions of future situations - Urbanism as a research tool Winy Maas, MVRDV, Rotterdam Mission impossible - of avant-garde and spectacle in urban design Finn Geipel, LIN, Berlin The emergence of a new type of urbanity – shaping space for contemporary identities Christopher Choa, AECOM, London Reconciling opposites – the raise of connectivity and its translation into urban and architectural scales Liu Xiaodu + Wang Hui, Urbanus, Shenzen+Beijing China as the place of reachable utopias – Hyperdensity and its social implication