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Spaces of free access The contraction of the public realm, however, extends beyond these Orwellian developments. Public space is produced from the private: In democracy, the commons is always a compact about what is to be shared, what reserved; about where we choose to interact with the other. There’s been a lot of criticism from certain academic quarters about traditional notions of public space, about overidentifying the idea with streets, squares, parks, and other historic settings for face-to-face interactions. This critique is predicated both on the idea that these spaces fail to acknowledge the existence of multiple publics and that

For too long, too much of the discussion about urban mobility and its relationship to sustainability has been locked into an increasingly sterile debate between proponents of public transit and advocates of the automobile. Both sides ignore some inconvenient truths. Image: © Franco Vairani/MIT Smart Cities Project Six to 8 stacked City Cars can fit into one traditional parking space. When located at major origin and destination spots, such as transit stations, they can carry people the last mile to their final destinations. Transit enthusiasts point out the inherent efficiencies of high-capacity public-transportation networks, but often neglect to mention that,

Although City Cars can work quite nicely as privately owned vehicles, they provide the greatest sustainability benefits when they are integrated into citywide, intelligently coordinated, shared-use mobility systems. The idea is to locate stacks of City Cars at major origin and destination points, such as transit stops, airports, hotels, apartment buildings, supermarkets, convenience stores, universities, hospitals, and so on. You just swipe a credit card, drive a vehicle away from the front of the stack, and return it to the rear of another stack at your final destination. From the user’s perspective, it’s like having valet parking everywhere. Image: ©

“The development of an official style must be avoided. Design must flow from the architectural profession to the Government, and not vice versa.” The words are those of Daniel Patrick Moynihan. They’re part of his famous "Guiding Principles for Federal Architecture" (1962), which helped inspire a revolution in government architecture. The revolution was the Design Excellence program in the General Services Administration (GSA—sorry, it’s hard to write about government without bogging in multisyllables). From 1994 to 2005, under the GSA’s chief architect, Ed Feiner, the program tried to choose the best architects in the country for the design of courthouses

An architectural language I find it increasingly hard to get very excited about these style battles, and I suspect a lot of people feel the same way. Thomas Gordon Smith spoke at the conference, and he sounded entirely sane. (As one nationally known architect said to me on the way out of the hall, “The dragon turns out not to be such a dragon.”) He presented Classicism as an architectural language of well-understood conventions, a language that can and should be used inventively. I’ve visited his school and liked the student work. Photography: © Scott Frances/Esto Richard Meier’s Phoenix courthouse

Pink Floyd was playing on the loudspeaker of the ferry transporting us over the Rio Napo into the 2,700-square-mile Yasuni National Park in the Amazon basin in Ecuador’s El Oriente region. We had missed the previous ferry after making hours of slow progress over rutted roads through a largely denuded countryside, then had to kill an hour in a shoreside scene of extreme informality—hot sun, muddy, littered paths along the river, lazing dogs, scattered houses, a little shop, and a dirt parking lot for waiting vehicles. The scene on the other side, however, was more like Guantanamo. From the dock,

The roadways slashing through the rain forest instigate both extraction and attraction, becoming the medium for still larger territorial reorganization. As roads are built, forest is cleared to make way for three rows of agricultural plots, each 820 by 6,562 feet, creating a space 7.5 miles wide and, in aggregate, hundreds of miles long, a vast linear settlement occupied by colonos from elsewhere in the country—well over a quarter million have poured into Oriente since the discovery of oil. Much of this is pasture land: rain-forest soils are a poor basis for conventional agriculture, and clearing the jungle dooms the

When Frank Gehry’s Stata Center at MIT opened three years ago, it got a lot of press, especially for its novel appearance. I wrote at the time [record, July 2004, page 61]: “It looks as if it’s about to collapse. Columns tilt at scary angles. Walls teeter, swerve, and collide in random curves and angles. Materials change wherever you look: brick, mirror-surface steel, brushed aluminum, brightly colored paint, corrugated metal. Everything looks improvised, as if thrown up at the last moment.” The Stata was even pictured in a Doonsbury comic strip, where a character calls it “pretty cool.” Photography: ©

Fractals are the Stata. No two places are exactly the same: “The lack of repetition animates the building.” Coffee and whiteboards seem to be everywhere, and people casually join discussions as they navigate their way through the plan: “You run into people you might not have seen in years. I get lost all the time.” Photography: © Roland Halbe Interiors provide a variety of spaces to gather. A voice of mild disagreement is that of Noam Chomsky, the linguist and political activist who is the Stata’s best-known inhabitant. Chomsky’s world isn’t fractal. It’s a conventional suite of offices. He says

Once upon a time, Le Corbusier sat in his single-room office alone, pencil in hand, solemnly pondering an architectural problem, “face to face with himself, the wrestling of Jacob and the Angel within the human soul,” as he explained in volume eight of Oeuvres Complètes. About one project he wrote, “This took a long time to develop, the design worked upon and caressed in days of perfect calm.” His famous dictum was “creation is a patient search.” Each new edition of the Oeuvres Complètes was eagerly anticipated, and although it would come out only every few years with a limited