If Planners Plan, Why Don’t Architects Arch? 1992 2008 2012 1904 1838 1872 Ignacio Correa‐Ortiz, AIA, AICP, LEED AP It may seem silly to base my speech on a graffiti that I saw on a bathroom stall at the University of Wisconsin‐Milwaukee’s School of Architecture and Urban Planning a dozen years ago, but there is a motivation for that. When I was a small child I wanted to be Tarzan, then I wanted to be a bullfighter. As a teenager I wanted to be an explorer, and by my senior year of high school I felt the pressure of society and my family to choose a respectable career; my two older siblings were in medical school and it looked that my five younger siblings were going that way as well. In addition, all my high school buddies were going to law school. As the third child of eight it was difficult for me not to be the black sheep of the flock. This image is a still from the 2008 movie “Manolete” which was marketed in the US as “The Bullfighter’s Mistress” with Penelope Cruz and Adrien Brody. The adventurer in me kicked in first and in 1980 I bid adieu to my native Colombia to explore England and Spain where I became an expert hitch‐hiker. Painting by my brother Juan from the 2012 exhibit: two brothers, two careers, one love. I eventually reunited in 1982 with my family who had just moved to Brussels, Belgium, where I matriculated at L’Ecole Superieur des Arts Visuelles, a school of fine arts, also known as La Cambre, founded by Henry Van de Velde in 1926. Let me digress, Henry Van de Velde was a Belgian painter, architect and interior designer and is considered one of the founders of the Art Nouveau Movement. This image is Van de Velde’s 1906 building for the Faculty of Art and Design in Weimar. With the invention of photography, a revolution that in a few decades made certain aspects of painting obsolete, painting evolved from an art form that no longer needed to be bothered about the representation of the place and the space and could instead focus about the concept. This is an important step in breaking with classisism. "Boulevard du Temple", a daguerreotype made by Louis Daguerre in 1838, is generally accepted as the earliest photograph to include people. It is a view of a busy street, but because the exposure time was at least ten minutes the moving traffic left no trace. Only the two men near the bottom left corner, one apparently having his boots polished by the other, stayed in one place long enough to be visible. Monet and a group of about 30 other artists, frustrated by restrictions and politics of the official annual art salon, had decided to hold their own independent exhibition, an unusual thing to do at the time. They called themselves the Anonymous Society of Painters, Sculptors, Engravers, etc (Société Anonyme des Artistes Peintres, Sculpteurs, Graveurs, etc.) and included artists who are now world famous such as Renoir, Degas, Pissarro, Morisot, and Cézanne. The exhibition was held from 15 April to 15 May 1874 in the former studio of the photographer Nadar (Félix Tournachon) at 35 Boulevard des Capucines, a fashionable address. In his review of the exhibition, the art critic for Le Charivari, Louis Leroy, used the title of Monet's painting as the headline, calling it the "Exhibition of Impressionists". Leroy had meant it sarcastically as the term 'impression' was used "to describe a rapidly notated painting of an atmospheric effect, [that] artists rarely, if ever exhibited pictures so quickly sketched" APA Colorado State Conference. Steamboat Springs, CO 8/2/15 1 If Planners Plan, Why Don’t Architects Arch? 1889 1896 1921 1867 1906 1824 1856 1917 1902 Ignacio Correa‐Ortiz, AIA, AICP, LEED AP Art Nouveau is the movement that bridged between impressionism and modernism. This is Starry Night by Vincent Van Gogh. y Van Gogh. Impressionism definitely breaks all the ties with classicism. Art Nouveau is a reaction to Classicism, in a sense it is a predecessor of the Modern Art Movement where the revolution was characterized by the introduction of organic forms in art, design and architecture. This image is the Kiss by Gustav Klimt, painted in 1909 during the height of his “golden” period currently located at the Vienna Belvedere Palace. Modernism creates a new order that, like art nouveau, transforms the design and interpretation of the world in all aspects of culture. Modernism does it with a long lasting effect that even today touches us. This is Tableau 1 by Piet Mondrian. It is no coincidence that I have placed here two Dutch Masters to exemplify the transition between impressionism and modernism. The second part of the 18th Century was hectic with World Fairs, of which the 1851 World Exposition, better known as the Crystal Palace Exhibition and the 1867 and 1889 Universal Expositions in Paris are best known for flaunting the new industrial age prowess. Here is the Gallery of Machines from the 1867 exposition. The new architecture that relies on prefabricated parts makes the advance of civic building in particular possible. Before we go back to Art Nouveau let’s see what was happening in Chicago who had just had its own World Exposition in 1893. The White City, as the Columbian Exposition was called, was supposed to be a model for the future city. What really emerged was the Chicago Style of architecture that signaled the beginning of sky‐scraper architecture. Here is the Carson Pirie Scott Company Building by Louis Sullivan in 1906. Robert Owen’s New Harmony marks the generation of utopist concepts for the city of the future would create a "superior social, intellectual and physical environment" based on his ideals of social reform. We can say that the evolution of the modern city starts with Charles Fourier’s Phalanstere of 1856. This image, although similar to Versailles in proportion, has a completely different social dimension. The Phalanstere is a utopian concept where an egalitarian society would occupy. Of all the utopists, the best executed vision of the future city was Tony Garnier’s with his proposal for the Cite Industrielle in 1917. This era also marks the inception of a new kind of city‐building, in this case the Garden City conceived by Sir Ebenezer Howard as a utopic response to the chaos generated by industrial city. Howard was preceded by Utopian Socialist Charles Fourier and Robert Owen. The Garden City, after Owen’s New Harmony and Fourier’s Falanstere, is the very first successful attempt to create and implement a theory of de‐urbanization, the root‐cause for sub‐
urbanization. This is an image from Howard’s Garden Cities of To‐morrow published in 1902. Art Nouveau was especially depurated in Belgium, France and the Netherlands. This is seen in the work of architects Hector Guimard who made the Metro de Paris entrances famous and Victor Horta who has a total approach to design where virtually every element in the APA Colorado State Conference. Steamboat Springs, CO 8/2/15 2 If Planners Plan, Why Don’t Architects Arch? 1901 1903 1898 1914 1919 1919 1916 Ignacio Correa‐Ortiz, AIA, AICP, LEED AP building, from the door knob to the floor pattern is designed by the architect. Charles Mackintosh contributed as well in this transition from Art Nouveau to Modernism with his own interpretation of the English tradition and its evolution to a simplified geometry in typology and the applied arts. Willow tea room in Glasgow, 1903. Van de Velde had founded the Grand Ducal School of Arts and Crafts and the Weimar Academy of Fine Arts with the sponsorship of the Archduke of Saxony and Weimar. But the growing German nationalism previous to the war of 1914 converged in the expulsion of all non‐Germans out of Germany. Van De Velde returned to Belgium. Van de Velde thought that the architect’s formation needed to be part of a system based on the evolution through the crafts, therefore the curriculum at the school integrated the crafts in the formation of the architect. Van de Velde’s model for La Cambre was based on his experience with the creation of the School of Applied Arts in Weimar, Germany, which after his forced departure in 1914 became the Bauhaus under his designee Walter Gropius. Let’s go back in history to review some of the context that brought us to the conversion that created the Bauhaus. The assassination of Archduke Franz Ferdinand marked the beginning of the first great war. The basic economic phenomenon that characterized this time in history was the creation of Capitalist Monopoly, which is the fusion of financial and industrial capital. The old imperial powers, England and France, were being displaced in the new global economy by the new industrial nations: Germany, Japan and the United States. What Does Spartacus Want? This propagandistic poster from 1919 depicts the Spartakusbund, the German Communist Party, tackling a hydra‐like monster lead by the new militarism. The post‐war Germany was ripe with ideological and philosophical discourse, on one side the Spartatukusbund and eventually the National Socialism on the other. The Bauhaus, by virtue of being in Weimar, a city traditionally of liberal thinking, at least until the oust of the Grand Duke Wilhelm Ernst of Sachsen‐Weimar, who abdicated under pressure from the more conservative Prussian interests. Because of eth social unrest, Berlin was not a safe place for the newly formed German parliamentary government. The Bauhaus developed into a revolutionary educational experiment in art and design by integrating arts, crafts and architecture. The ultimate aim of all visual arts is the complete building! Architects, sculptors, painters, we all must return to the crafts! For art is not a “profession.” There is no essential difference between the artist and the craftsman. This is an image of the April 1919 Bauhaus manifesto, which included a program, academic principles, range of instruction and admission procedures. The engraving, the cathedral of Knowledge, is by German‐American Expressionist painter Lyonel Feininger. This movement would become the basis for modern architecture and in particular the International Style. The Bauhaus eventually ceased to exist when the Nazis closed it in 1933. One of the first instructors that Gropius hired was a young Swiss painter by name Johannes Itten, another member of the expressionist movement who came to teach the basic courses and indeed helped develop today’s color theory. Itten was so engaged in his teaching at both intellectual and spiritual levels that he brought his Mazdaznan faith into the classroom and which proved to be ther eason for his departure latter in 1922. This 1916 painting by Itten is titled “The Encounter,” and shows already a very strong application of color theory. An obligatory probationary semester under Johannes Itten becomes what is known as the ‘preliminary course’ [Vorkurs]. The subject of this art‐based preliminary apprenticeship is the elementary conditions for any design: the material, ways of shaping and presenting it, and APA Colorado State Conference. Steamboat Springs, CO 8/2/15 3 If Planners Plan, Why Don’t Architects Arch? 1940 1921 1923 1919 1922 1923 1926 1926 Ignacio Correa‐Ortiz, AIA, AICP, LEED AP construction. The preliminary course is used to explore the personality and creativity of each student and to establish equivalent prerequisites for their further training. Exercises with Itten in particular – such as studies of rhythm, formal contrasts and light contrasts – determine the formal language used in Bauhaus products up to 1922. Itten teaches the preliminary course, which is to become a defining element in the Bauhaus’s teaching work, up to the spring of 1923, with Muche taking his place during the summer. Gerhard Marcks, a self‐taught sculptor and member of the Berlin Secession, was in charge of teaching form. Marcks stayed until 1925 when he was dismissed by influence of the Nazis for political reasons and suffered persecution throughout the war, including being one of the artists displayed in the 1937 Exhibition of Degenerate Art by the Nazi Regime. Adolf Meyer, not to be confused with Hannes Meyer, was a business partner of Walter Gropius and another charter professor at the Bauhaus. This is a picture of the Sommerfeld House, the first commission for the Bauhaus that Meyer and Gropius designed with the inclusion of fittings and furniture by students Josef Albers, Marcel Breuer and Joos Schmidt. Another charter professor, the youngest of the “Form Masters,” was Georg Muche, an avant‐garde painter and printmaker was also an architect and the author of the Bauhaus first total building. This is the 1923 experimental house “Haus am Horn.” With the technical help of Walter Gropius and Adolf Meyer, this building, now in the UNESCO list of world heritage sites, embodies the principles of the Bauhaus of functional design using prefabricated materials for quick and inexpensive construction. Paul Klee, a Swiss painter and color theorist was also appointed professor in 1921. He was a "Form" master in the bookbinding, stained glass, and mural painting workshops and was provided with two studios. Klee was very open to other positions and insisted that the variety added to the integrity of the school. Oskar Schlemmer appointed studio head of fresco painting and later on as Master of Form at the theater workshop. These guys were really creative people who were exploring and expanding the boundaries of design and concept. This image is from a stage design concept worked during the Bauhaus. Vassily Kandinsky was invited to be a studio master at the Bauhaus in part because of his association with Paul Klee and other avant‐garde artists part of the Blaue Reiter and later on the Die Blaue Vier. This painter originally trained as an economist and lawyer had found in art, in particular form and color, his true expression. Laszlo Moholy‐Nagy was another one of the great original studio masters who replaced my favorite Johannes Itten after his dismissal to teach the introductory course. Which market the end of the expressionism at the Bauhaus and solidified its relation to design and industrial integration. Moholy‐Nagy has many work in photomontage, photograms, typography and painting. After coming to America during the war, he was a co‐founder of the Illinois Institute of Technology, Institute of Design. As I mentioned Johannes Itten was replaced by Laszlo Moholy‐Nagy in the instruction of the Vorkus, or preliminary course, this defines the first ideological conflict within the school, expressionism gives way to a fusion between art and technology and envisioning a better relation with production and consumption. It is suspected that the antagonistic influence of Theo Van Doesburg, who along with Piet Mondrian represent the Dutch movement De Stijl, forced the Bauhaus to take a definite posture regarding expressionism. The 1919 manifesto where architecture is considered the end of all arts changes to Art and Technology—A New Unity. The right wing Deutsche Volks Partei, with the support from guilds who see in the Bauhaus a threat, make finally possible the expulsion of the Bauhaus from Weimar. This APA Colorado State Conference. Steamboat Springs, CO 8/2/15 4 If Planners Plan, Why Don’t Architects Arch? Ignacio Correa‐Ortiz, AIA, AICP, LEED AP action created an international outcry that carried the signatures, among others, of Albert Einstein and Oskar Kokoshka. But the nascent Nazi movement was just in the upswing. Other cities, including Dusseldorf seek to receive the Bauhaus professors, but it was ultimately Dessau who in the winter 1925/26 welcomed the new Bauhaus. This building is a design by Walter Gropius, a departure from its expressionist days. Georg Muche and Marcel Breuer, one of the first graduates who become professors, are instrumental in the formation of the architecture curriculum with the contribution of a new professor, the Swiss architect Hannes Meyer. The attacks from the right continue and 1926 Gropius decides to resign to relieve the institution from political pressure. With Gropius also leave Breur, Moholy‐Nagy and Herbert Bayer, and Hannes Meyer, then in charge of the architecture program, becomes the new director in 1928. Hannes Meyer, a former brick layer, makes an effort to connect the school with the needs of society, which makes the school take a posture regarding social compromise and production. Meyer insisted that architecture was not an aesthetic process, but rather a biological 1926 process. Meyer was also asked to resign after two years, by the Dessau mayor because of his socialist convictions. After Meyer left he wrote a letter to a local paper in which he explained that the Bauhaus was characterized by incestuous theories that blocked access to healthy design and stated that as the head of the Bauhaus he fought the Bauhaus style. This drawing is his entry, in association with Hans Wittwer, for the Basel Petersschule in 1926. The dismissal of Meyer was followed by the appointment of Ludwig Mies Van Der Rohe by recommendation of Walter Gropius in 1930.This is the German Pavilion at the Barcelona Fair. Mies, as he is commonly referred to, had a history of sympathizing with the socialist 1929 ideas of the traditional Bauhaus, he designed the monument to Rosa Luxembourg and Hugo Liebeneck later destroyed by the Nazis. Mies approach to architecture was purist and his quotes, Less is More and God is in the Detail summarize his approach. With the dominance of German politics by the National Socialist Party the Bauhasu was forced to close the school in 1932. Mies transferred the school to an abandoned telephone factory in Berlin, but by 1933 and the appointment of Adolf Hitler as the German Chancellor, the Bauhaus closed for good. At La Cambre, I had a revolution of my own. After matriculating I was placed in the painting studio. My excitement of joining a school with the same DNA as the Bauhaus was thwarted when I learnt that the architecture studio had split from La Cambre in 1980, and that the 1982 Weimar multidisciplinary education that Van de Velde cultivated had been replaced by a formula in which I did not beleive. I hoping to get the Vorkus instruction of Johannes Itten and Laszlo Moholy‐Nagy, by not finding it I drifted from the painting studio and found my expression in the alleys of Brussels, I was becoming a graffiti artist. What I learnt is that graffiti can be art when it is seen through the lens of its context and purpose. We don’t know for certain what the reason for the graffiti in Altamira or Lascaux was 17,000 years ago, but there is intent and context. In this picture, probably the first time 17,000 bc color was applied in human history, we see a wounded bison with a spear through its abdomen goring the hunter who has dropped his spear thrower. We think that the bird figure towards the lower left may symbolize his spirit. I decided to repatriate and become a Colombian architect. The school of architecture in Bucaramanga in the early 1980s owed allegiance to no movement, we were eclectic; the lower studios of the five‐year program took me, amongst 1983 others, to the color theory workshop of Johannes Itten and the composition studio of Bruno Munari, which influenced artists like Alexander Calder, with creative methods such as tactile APA Colorado State Conference. Steamboat Springs, CO 8/2/15 5 If Planners Plan, Why Don’t Architects Arch? 1983 2015 2012 1990 2015 1742 1987 1924 Ignacio Correa‐Ortiz, AIA, AICP, LEED AP and kinesthetic learning. In 1983 I closed my chapter on graffiti with a solo exhibition titled Después de los Graffiti, or “After the Graffiti.” The curator of the exhibit and architecture professor, Saúl Rugeles Quiroz, said “Ignacio Correa‐Ortiz assigns visual elements to a concept that transforms his paintings into an expression of the subconscious. Thus, he manages to construct a meaningful and graphic reality as a means of expression. His paintings convey that are either beyond or within actuality. The here and now are conceived as a progressive and systematic construction of reality, like a wall that is erected until all possibilities are contained.” Modern graffiti has evolved as an urban expression in two ways, either to “tag” the public space with an expression of the individual self, a narcissistic way to say “I was here.” This agglomeration of characters is not claiming the left‐over urban space as his or hers, but rather is seeking affirmation that he or she is part of the city. The other expression of graffiti is more clever, not because the pseudo‐art is not an affirmation of the self, but because sees the urban space as a blank canvass. So the graffiti is a commentary on society to certain extent. In places where there is social or political conflict, the message is more pointed. In this case, a rat stenciled onto a wall on Broadway in Denver, the message can be interpreted either as a whimsical commentary on society or as grabbing an opportunity to create space for thinking. The apple core in this picture was a serendipitous coincidence when I took the picture. The East Gallery in Berlin. Vandalism graffiti over public art. The public street mural has been an effective tool as a deterrent for graffiti. Typically taggers and graffiti artists do not vandalize these expressions of public art that are becoming more popular in American cities. My introduction to urban design and therefore, city‐making, in my opinion the greatest of all civic arts, came at the school of architecture by changing my relationship with the street as a medium of expression, to the street as an object of design. Although I was aware of architecture as civic art I had never studied the urban environment as such. I knew, and had visited as a teenager, that Rome was “eternal city” not just because of the agglomeration of its buildings but because there was an order established in the ancient and the medieval periods based on the human scale. This picture, from Canaletto, depicts the Roman Forum as it may have been in the 18th Century. Habitabilidad para el Centro de Bucaramanga. Professional degree thesis. As a student of architecture, where the upper studios in the 1980s were taught as urban appropriate, the question that came up was, what did the early modernists that I was so enamored with think of city making? All is summarized in the dialogue between Hannes Meyer and Mies, where Meyer says that life equals oxygen+sugar+starch+protein, and Mies replies if you mix them all you get something that stinks. The modern urbanists created something that stinks, basically because the misunderstanding of the role the automobile could and should play in the life a city. In 1927 Ludwig Hilberseimer, who taught at the Bauhaus, published a book called City Plan, where he emphasized safety for school‐age children to walk to school while increasing the speed of the vehicular circulation system. His APA Colorado State Conference. Steamboat Springs, CO 8/2/15 6 If Planners Plan, Why Don’t Architects Arch? Ignacio Correa‐Ortiz, AIA, AICP, LEED AP plan for the vertical city, here depicted created a total separation between pedestrians and the automobile, a concept that was rapidly adopted by the modern architects from Frank Lloyd‐Wright to Le Corbusier. Le Corbusier's Plan Voisin. Paris 1925 1925 1932 1939 1936 c.1901 Broadacre City, 1932. Frank Lloyd‐Wright, The Disappearing City. In 1935 presented at the Rockefeller Center a scale model created by his students at Taliesin, later shown by the FHA in Pittsburgh. FLW continued working on this concept until his death in 1959. This is the glorification of the incipient suburbia, FLW proposed a social model in which each family would receive an acre from the federal government. A few apartment and office towers would be dispersed over the landscape. Although there is a train station proposed in his vision, most of the transportation is done by private automobiles. There is also, as you can see in this image, personal helicopters that dotted the skies. The best application of this became the bases for The Jetsons TV show that aired in 1962. At the 1939 New York World’s Fair, GM created “Futurama.” The centerpiece of their exhibition was a giant model of the American landscape of the future, 1960. Visitors took seats around the circular model, and slowly rotated to take in all of the prognostication. “Two 14‐lane express highways cross in 1960.” Direct hit, GM. Because every good story needs a villain, let me proposed this fallen angel as the villain of the story: Robert Moses, who held several appointive offices and once occupied 12 positions simultaneously, including that of New York City Parks Commissioner, head of the State Parks Council, head of the State Power Commission and chairman of the Triborough Bridge and Tunnel Authority. In this picture you see the one of the three segments of the 1936 Triborough Bridge known today as the Robert F. Kennedy Bridge or RFK Triborough Bridge. Moses was instrumental in the revival of New York City during the post‐depression era, first by facilitating the vision for the city’s 1939 World’s Fair, and then by creating a number of public parks and parkways that connected the city to the region. He helped the city become modern in terms of an initial approach to how the city connected to the region by facilitating access to private automobiles. His falling as a city planner came during the post‐war, when after 1945 he did not adjust his model of planning that favored the automobile over the pedestrian. After Mayor Fiorello LaGuardia left office in 1945, less than 2 years before his death, he complained that Robert Moses had too much power—and that while he, LaGuardia, could control him (which wasn't true) now no one could (which was true). This image of 7th Street and Avenue D epitomizes one of the greatest changes in the face of New York City. The Jacob Riis Houses project of 1947 on the East River replaced 17 acres of businesses and sturdy Old Law tenements, tenements built in New York City after the Tenement House Act of 1879 and before the New York State Tenement House Act ("New Law") of 1901 with dwellings for 4,300 people following the modernist model of the superblock that Hilbersheimer proposed 20 years earlier. In order to accomplish this, Robert Moses took control over the New York City Housing Authority, something he could not have done during LaGuardia’s leadership and also by placing in the NYCHA board his developer and banker friends. This is a Google Earth view of the same intersection today. The postwar de‐industrialization of the city proved to be difficult for New York City, not only because of the loss of a huge tax base caused by the gradual migration to the suburbs, but also because in a decade the city APA Colorado State Conference. Steamboat Springs, CO 8/2/15 7 If Planners Plan, Why Don’t Architects Arch? 2015 1956 1961 2006 Ignacio Correa‐Ortiz, AIA, AICP, LEED AP went from having one‐million industrial jobs to less than 100,000. A Federal law made this urban renewal projects possible and it was influenced by Moses while they were drafted: The Housing Act of 1949. This law included two titles: one providing federal financing for slum clearance programs (Title I), Noses managed to appoint himself chair of the slum clearance committee. And Title II that increased authorization for the Federal Housing Administration mortgage insurance. Unfortunately, the law failed to provide the goals it was looking for, it destroyed more housing units than it created. For instance the Lincoln Center for the Performing Arts built 4400 apartments while 7000 apartments were destroyed. Critics of the law called urban renewal “negro removal” because the slum clearance program targeted black and Puerto Rican neighborhoods. Title II was underwriting the development of suburbs at the same time that it created a red‐line system that prevented minorities from accessing the low mortgage rates it provided to others. Basically the Federal mortgage guarantees financed single‐family houses but not multi‐family buildings. It is understood now that the consequences of this actions are ominous, while suburban families were able to put their children to school based on the equity gained, inner cities children did not have access to higher education, thus the great educational divide that still plagues us today. The Eisenhower Interstate System facilitated the development of highways, however unimaginable, like the Cross Bronx Expressway and the Lower Manhattan Expressway, here depicted. The Federal‐Aid Highway Act of 1956 authorized the construction of 41,000 miles of highway. Originally intended to bypass cities, planners including Robert Moses, argued for them to intersect city centers as ways to help clear blight and facilitate movement from suburb to center. Two of Moses’ proposals are particularly clear examples: the Cross Bronx Expressway, represents the first stage in a series of actions that continue to have widespread social and economic consequences in the Bronx today caused by the devastation of removing almost impossible obstacles in the development of a highway that bisected neighborhoods almost indiscriminately. The other is the proposed Lower Manhattan Expressway, never constructed after strident community opposition. If this story has a villain it has to have a hero, a heroine in this case: Jane Jacobs. With the recent destruction of Penn Station and thousands of acres under “urban renewal” the community awareness for the preservation of significant pieces of architecture and urban fabric was exalted. Penn Station, a symbol of the imperial age of rail, and its parent company, the Pennsylvania Railroad, was in the postwar in decline and succumbed to greater economic forces to demolish the building to make room for the Madison Square Garden and two office buildings. This even originated the New York City Landmarks Preservation Commission a commission that was instrumental in a later Supreme Court case Penn Central Transportation Co. vs. New York City that prevented a similar fate to the Grand Central Terminal. Even though Robert Moses had little to do with the demise of Penn Station, his proposal for the Lower Manhattan Expressway created a formidable enemy a community that was organized and educated and that did not back down until the project was discarded. Jane Jacobs book “the Death and Life of Great American Cities” made the case against urban renewal, but above all made common sense by appealing to people to be the watchful eyes that protect the street as they, by doing so, create social capital. Our heroine was criticized for promoting gentrification. She also is credited, along with Lewis Mumford, with inspiring the New Urbanist movement. My plan for Union station APA Colorado State Conference. Steamboat Springs, CO 8/2/15 8 If Planners Plan, Why Don’t Architects Arch? Ignacio Correa‐Ortiz, AIA, AICP, LEED AP Advocacy Planning Community‐based urban design 2011 Concept for a gondola on the central corridor 2015 Consensus‐based decision‐making 2014 Results, buy‐in from Historic Preservation Boards 2014 US 36 BRT‐ Flatiron Flyer Shelters 2015 Central Park Station 2015 Functional art, my new graffiti expression 2015 Let’s arch, then. 2015 APA Colorado State Conference. Steamboat Springs, CO 8/2/15 9