Pamela Woolner, senior lecturer in education at Newcastle University, joins us in this episode to discuss her edited volume, School Design Together (Routledge, 2014). Pam is an expert in understanding and developing learning environments, particularly the use of participatory research methods to engage and empower users to share their experiences and knowledge.

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Laura Neitzel’s The Life We Longed for: Danchi Housing and the Middle Class Dream in Postwar Japan (MerwinAsia, 2016) is a chronicle of the large, government-sponsored housing projects called danchi that were built during Japan’s high-growth years, roughly 1955 until the first oil shock in the early 1970s. Though only a minority of Japanese lived in the danchi, they took on an outsized place in the public imagination of and aspirations for the ideal new “bright life” of postwar Japan. The danchi, built by the Japan Housing Corporation (JHC) to accommodate the rush of families relocating to the cities during this transformational period, were the symbol of a new “democratic” middle-class life freed from the “feudal” past, a great social and architectural experiment, and the source of enormous social cathexis. Drawing on a wide range of sources from government white papers to popular women’s magazines, and paying close attention to the danchi as an everyday revolution of the everyday, to both the positive and negative views of the danchi, and to their relationship to contemporaneous social imaginaries of democratic-capitalist affluence around the world, Neitzel paints a clear and concise portrait of the danchi as aspiration, but also paradoxically as a kind of nostalgia a longed-for life that never really was. The book provides a clear and sensitive look at danchi as modern design and design for modernity, as a fantasy of middle-class life and a middle-class fantasy, warts and all.

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Beginning in the mid-1800s, Paris experienced an unprecedented growth in the development of parks, squares, and gardens. This greenspace was part of Napoleon III’s plan for a new, modern Paris and a France restored to glory on the international stage.  Adolphe Alphand, as director of the newly established park service, brought his own democratic and egalitarian vision to urban planning.  In Planning the Greenspaces of Nineteenth-Century Paris (Louisiana State University Press, 2015), Dr. Richard S. Hopkins examines the urban landscape of Paris from the Second Empire through the Third Republic as an expression of France’s revolutionary past in which disparate groups—from planners, reformers, and engineers to neighborhood residents and park visitors—came together to create, define, and negotiate this new public space.

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Seoul, as any listener who has visited will recognize, can be a pretty overwhelming place. This is well recognized by Ross King, Professorial Fellow in the Faculty of Architecture, Building and Planning at the University of Melbourne, who notes that cities like this “are experienced as disaggregated places, always already fragmented, bits, moments, feelings, memories” (p. 131). But in his richly illustrated and luxuriously produced book Seoul: Memory, Reinvention and the Korean Wave (University of Hawaii Press, 2018), Professor King does an expert job of ‘reading’ (p. 15) this megalopolis with deftness and elegance, interpreting the multiplicity of faces which it presents to visitor and local alike.

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Toufoul Abou-Hodeib‘s A Taste for Home: The Modern Middle Class in Ottoman Beirut (Stanford University Press, 2017) is a welcome addition to the scholarship on the urban history of Beirut precisely because it exceeds the disciplinary boundaries of urban history: A Taste for Home tells the story of late Ottoman Beirut through the middle class and their sense of self. Abou-Hodeib uses domesticity as a category of analysis to look at how the middle class functioned and what it aspired to be in the midst of the late Ottoman period. However, the book also succeeds wildly because it treats a local context within the global setting, taking seriously the intersecting themes of global capitalism and consumer culture, themes of domesticity and taste. Over the course of the book, leisure and urban development are also shown to be key elements in the development of the middle class, defining the city for generations to come. A Taste for Home will be critical for conversations for many years to come on class, the economy, the city, and the home in the study of the Middle East and the Ottoman Empire.

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Folklore scholar Joseph Sciorra is the Director for Academic and Cultural Programs at the John D. Calandra Italian American Institute in Queens College which is part of the City University of New York.  He’s also a Brooklyn-born and -raised Italian American and in this episode of the New Books in Folklore podcast, he talks about his latest book, Built with Faith: Italian American Imagination and Catholic Material Culture in New York City (University of Tennessee Press, 2015) which “offers a place-centric, ethnographic study of the religious material culture of New York City’s Italian American Catholics” (xiv).

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In Curated Decay: Heritage Beyond Saving (University of Minnesota Press, 2017), geographer Caitlin DeSilvey offers a set of alternatives to those who would assign a misplaced solidity to historic buildings and landscapes in order then to “preserve” or “conserve” them. DeSilvey reimagines processes of material decay, which always intermingle natural and cultural landscapes, as more animate, eventful, productive, and worthy of affirmation than prevailing practice would have it. Her narrative wends through Montana, Vermont, Germany’s Ruhr Valley, and numerous English sites, each of them rendered at close range, in lithe, sometimes experimental prose. Through these encounters, and with a remarkably light touch, she thinks in a key recognizable alongside, but never subservient to, many strands of recent geographic thought on the force or vitality of nonhuman matter. Curated Decay is an ethical intervention, too, posing difficult questions about vulnerability, rights, care, repair, maintenance, and how we might better respond to environments as they weather and fragment. Just this week, happily, the book was just awarded the Historic Preservation Book Prize by the Center for Historic Preservation at the University of Mary Washington. It will satisfy a wide and curious readership across diverse domains of theory and practice, and because the lines of questioning it opens are not easily closed down, it will stoke debate for some time to come.

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The Americans with Disability Act passed in 1990, but it was just one moment in ongoing efforts to craft the meaning and practice of “good design” that put people with disabilities at the center. In their new book, Building Access: Universal Design and the Politics of Disability (University of Minnesota Press, 2017), Aimi Hamraie takes a “sledgehammer to history” in the spirit of one guerrilla activist group that they track in the archives—among many other people, objects, and historical contexts. Hamraie focuses on work around “access-knowledge”—that is, the forms of expertise that were considered legitimate ways of knowing and responding to disability through design. What has counted as legitimate access-knowledge, Hamraie argues, indicates designers’ goals: Was the aim of design to make productive workers, liberal consumers, or structures that materialized a commitment to spacial belonging? Who were the imagined users and how could new political priorities materialize in worlds already built? Answers to these questions made—and continue to remake—our material world and its frictions.  Hamraie brings their training in feminist epistemology to never-before-accessed archival materials, along with an array of historical images and documents. The result is a persuasive, beautiful, and intrepidly researched book. Building Access torques received wisdom in disability studies, history of science, and architectural design, and models how to attend to research, writing, and publishing as a material practice.

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Lawrence Halprin, one of the central figures in twentieth-century American landscape architecture, is well known to city-watchers for his work on San Francisco’s Ghirardelli Square, Seattle’s Freeway Park, downtown Portland’s open-space sequence, the FDR Memorial on the National Mall, and the California planned community of Sea Ranch. Less well known is his distinctive, process-based approach to design—his theoretical commitment, on the one hand, to a dynamic “choreography” of bodies moving through space, and, on the other, the visually arresting notational techniques of “scoring” he devised to represent such movement and carry out his projects in consultation with the public. In City Choreographer: Lawrence Halprin in Urban Renewal America (University of Minnesota Press, 2014), Alison Bick Hirsch addresses Halprin’s built work and community workshops in equal measure, pointing up important tensions that his participatory “Take Part Process” never quite extinguished: between manipulation and facilitation, universality and difference, conscious choice and emergent chance. Through Lawrence Halprin and his wife, the modern dancer Anna Halprin, Hirsch opens onto a broader history of postwar landscape and urban design, and onto some of the complicated politics in which proponents and critics of Urban Renewal alike found themselves immersed. Hirsch has written a decisive work that joins the intellectual, social, political, and aesthetic histories of urbanism. Geographers, historians, and urbanists of many stripes will learn from her able analysis.

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Singular Spaces: From the Eccentric to the Extraordinary in Spanish Art Environments (Raw Vision, 2013) is an audacious tome. A comprehensive survey of 45 art environments on the Spanish mainland, it weighs just over eight and a half pounds and contains over 1300 color photographs (with over 4000 more plus site plans on the accompanying CD). Its author, Jo Farb Hernandez, is the Director of SPACES, a non-profit focused on art environments around the world. She first became interested in place-based creative constructions when she was an undergraduate in Wisconsin. In her introduction to Singular Spaces, she recounts how this particular book began: she and her husband were in the process of renovating an old farmhouse they’d purchased in Catalonia. They took a short road-trip to explore the area around their new home and chanced upon “the enormous roadside construction of Josep Pujiula I Vila, at that time one of the largest and most idiosyncratic art environments found worldwide” (16). Shortly thereafter Farb Hernandez began documenting Pujiula’s work while writing another book. In the process she came across more and more such endeavors that demanded her attention. Singular Spaces is devoted to those sites and like them, the book is the product of years of labor and dedication.

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