Zoning
Zoning is a term used in urban planning for a system of land-use regulation in various parts of the world, including North America, the United Kingdom, and Australia. The word is derived from the practice of designating permitted uses of land based on mapped zones which separate one set of land uses from another.
Scope
Theoretically, the primary purpose of zoning is to segregate uses that are thought to be incompatible; in practice, zoning is used as a permitting system to prevent new development from harming existing residents or businesses. Zoning is commonly controlled by local governments such as counties or municipalities, though the nature of the zoning regime may be determined by state or national planning authorities. In Australia, land under the control of the Commonwealth (Federal) government is not subject to state planning controls.
Zoning may include regulation of the kinds of activities which will be acceptable on particular lots (such as open space, residential, agricultural, commercial or industrial), the densities at which those activities can be performed (from low-density housing such as single family homes to high-density such as high-rise apartment buildings), the height of buildings, the amount of space structures may occupy, the location of a building on the lot (setbacks), the proportions of the types of space on a lot (for example, how much landscaped space and how much paved space), and how much parking must be provided. The details of how individual planning systems incorporate zoning into their regulatory regimes varies though the intention is always similar.
For example, in the state of Victoria, Australia, land use zones are combined with a system of planning scheme overlays to account for the multiplicity of factors that impact on desirable urban outcomes in any location.
Most zoning systems have a procedure for granting variances (exceptions to the zoning rules), usually because of some perceived hardship caused by the particular nature of the property in question.
Types of residential zones would be R1 for single-family homes, R2 for two-family homes, and R3 for multiple-family homes.
Types
Zoning codes have evolved over the years as urban planning theory has changed, legal constraints have fluctuated, and political priorities have shifted.[1] The various approaches to zoning can be divided into four broad categories: Euclidean, Performance, Incentive, and Design-based.
Euclidean
Named for the type of zoning code adopted in the town of Euclid, Ohio, Euclidean zoning codes are by far the most prevalent in the United States, used extensively in small towns and large cities alike. Also known as "Building Block" zoning, Euclidean zoning is characterized by the segregation of land uses into specified geographic districts and dimensional standards stipulating limitations on the magnitude of development activity that is allowed to take place on lots within each type of district. Typical types of land-use districts in Euclidean zoning are: residential (single-family), residential (multi-family), commercial, and industrial.
Uses within each district are usually heavily prescribed to exclude other types of uses (residential districts typically disallow commercial or industrial uses). Some "accessory" or "conditional" uses may be allowed in order to accommodate the needs of the primary uses. Dimensional standards apply to any structures built on lots within each zoning district, and typically take the form of setbacks, height limits, minimum lot sizes, lot coverage limits, and other limitations on the building envelope.
Euclidean zoning is utilized by some municipalities because of its relative effectiveness, ease of implementation (one set of explicit, prescriptive rules), long-established legal precedent, and familiarity to planners and design professionals.
However, Euclidean zoning has received heavy criticism for its lack of flexibility and institutionalization of now-outdated planning theory (see below).
Performance
Also known as "Effects-based planning", Performance Zoning uses performance-based or goal-oriented criteria to establish review parameters for proposed development projects in any area of a municipality. Performance zoning often utilizes a "points-based" system whereby a property developer can apply credits toward meeting established zoning goals through selecting from a 'menu' of compliance options (some examples include: mitigation of environmental impacts, providing public amenities, building affordable housing units, etc.). Additional discretionary criteria may also be established as part of the review process.
The appeal of Performance Zoning lies in its high level of flexibility, rationality, transparency and accountability. Performance Zoning avoids the arbitrary nature of the Euclidian approach, and better accommodates market principles and private property rights with environmental protection. However, performance zoning can be extremely difficult to implement and can require a high level of discretionary activity on the part of the supervising authority.
Incentive
First implemented in Chicago and New York City, incentive zoning is intended to provide a reward-based system to encourage development that meets established urban development goals. Typically, a base level of prescriptive limitations on development will be established and an extensive list of incentive criteria will be established for developers to adopt or not at their discretion. A reward scale connected to the incentive criteria provides an enticement for developers to incorporate the desired development criteria into their projects.
Common examples include FAR (floor-area-ratio) bonuses for affordable housing provided on-site and height limit bonuses for the inclusion of public amenities on-site.
Incentive zoning allows for a high degree of flexibility, but can be complex to administer. The more a proposed development takes advantage of incentive criteria, the more closely it has to be reviewed on a discretionary basis. The initial creation of the incentive structure in order to best serve planning priorities can also be challenging and often requires extensive ongoing revision to maintain balance between incentive magnitude and value given to developers.
Form-based
Form-based zoning relies on rules applied to development sites according to both prescriptive and potentially discretionary criteria. These criteria are typically dependent on lot size, location, proximity, and other various site- and use-specific characteristics.
Design-based codes offer considerably more flexibility in building uses than do Euclidean codes, but, as they are comparatively new, may be more challenging to create. When form-based codes do not contain appropriate illustrations and diagrams, they have been criticized as being difficult to interpret.
One example of a recently adopted code with design-based features is the Land Development Code adopted by Louisville, Kentucky in 2003. This zoning code creates "form districts" for Louisville Metro. Each form district intends to recognize that some areas of the city are more suburban in nature, while others are more urban. Building setbacks, heights, and design features vary according to the form district. As an example, in a "traditional neighborhood" form district, a maximum setback might be 15 feet from the property line, while in a suburban "neighborhood" there may be no maximum setback.
Zoning in USA
Zoning regulations fall under the police power rights state governments may exercise over private real property.
Origins and history
Special laws and regulations were long made, restricting the places where particular businesses should be carried on. In the 1860s a specific State statute prohibited all commercial activities along Eastern Parkway (Brooklyn), setting a trend for future decades.
In 1916, New York City adopted the first zoning regulations to apply city-wide as a reaction to construction of The Equitable Building (which still stands at 120 Broadway). The building towered over the neighboring residences, completely covering all available land area within the property boundary, blocking windows of neighboring buildings and diminishing the availability of sunshine for the people in the affected area. These laws, written by a commission headed by Edward Bassett and signed by Mayor John Purroy Mitchel, became the blueprint for zoning in the rest of the country, partly because Bassett headed the group of planning lawyers which wrote The Standard State Zoning Enabling Act that was accepted almost without change by most states. The effect of these zoning regulations on the shape of skyscrapers was famously illustrated by architect and illustrator Hugh Ferriss.
The constitutionality of zoning ordinances was upheld in 1926. The zoning ordinance of Euclid, Ohio was challenged in court by a local land owner on the basis that restricting use of property violated the Fourteenth Amendment to the United States Constitution. Though initially ruled unconstitutional by lower courts, the zoning ordinance was upheld by the U.S. Supreme Court.[3].
By the late 1920s most of the nation had developed a set of zoning regulations that met the needs of the locality.
New York City went on to develop ever more complex set of zoning regulations, including floor-area ratio regulations, air rights and others according to the density-specific needs of the neighborhoods.
Among large populated cities in the United States, Houston is unique in having no zoning ordinances. Houston voters have rejected efforts to implement zoning in 1948, 1962 and 1993.
See also
Activity centre
Context theory
Form-based codes
Inclusionary zoning
Mixed-use development
New urbanism
Nonconforming Use
Planning permission
Spot zoning
Police power
Principles of Intelligent Urbanism
Reverse sensitivity
Road
Statutory planning
Subdivision (land)
Traffic
Variance (land use)
NIMBY
Ward 49 of the City of Chicago includes most of Rogers Park and parts of West Ridge.
Showing posts with label urban planning. Show all posts
Showing posts with label urban planning. Show all posts
Thursday, December 6, 2007
Wednesday, December 5, 2007
Architecture
Architecture
Architecture is the art and science of designing buildings and other physical structures. A wider definition often includes the design of the total built environment from the macrolevel of town planning, urban design, and landscape architecture to the microlevel of construction details and, sometimes, furniture. The term "Architecture" is also used for the profession of providing architectural services.
Architectural design is primarily driven by the creative manipulation of mass, space, volume, texture, light, shadow, materials, program, and pragmatic elements such as cost, construction and technology, in order to achieve an end which is aesthetic, functional and often artistic. This distinguishes architecture from engineering design, which is driven primarily by the creative manipulation of materials and forms using mathematical and scientific principles.
Architectural works are perceived as cultural and political symbols and works of art. Historical civilizations are often known primarily through their architectural achievements. Such buildings as the pyramids of Egypt and the Roman Colosseum are cultural symbols, and are an important link in public consciousness, even when scholars have discovered much about a past civilization through other means. Cities, regions and cultures continue to identify themselves with and are known by their architectural monuments.[1]
Etymology and application of the term
The word "architecture" comes from the Latin, "architectura" and ultimately from Greek,"arkitekton", αρχιτεκτων, an architect, or more precisely "master builder", from the combination of αρχι a "chief" or "leader" and τεκτων, a "builder" or "carpenter."
While the primary application of the word "architecture" pertains to the built environment, by extension, the term has come to denote the art and discipline of creating an actual, or inferring an implied or apparent plan of any complex object or system. The term can be used to connote the implied architecture of abstract things such as music or mathematics, the apparent architecture of natural things, such as geological formations or the structure of biological cells, or explicitly planned architectures of human-made things such as software, computers, enterprises, and databases, in addition to buildings. In every usage, an architecture may be seen as a subjective mapping from a human perspective (that of the user in the case of abstract or physical artifacts) to the elements or components of some kind of structure or system, which preserves the relationships among the elements or components.
The Architect
Architecture as a profession is the practice of providing architectural services. The practice of architecture includes the planning, designing and oversight of a building's construction by an architect. Architectural services typically address both feasibility and cost for the builder, as well as function and aesthetics for the user.
Architecture did not start to become professionalized until the late nineteenth century. Before then, architects had ateliers and architectural education varied, from a more formal training as at the École des Beaux-Arts in France, which was founded in the mid seventeenth century, to the more informal system where students worked in an atelier until they could become independent. There were also so-called gentlemen architects, which were architects with private means. This was a tradition particularly strong in England during the eighteenth and nineteenth centuries. Lord Burlington, designer of Chiswick House, (1723-49) is an example.
Some architects were also sculptors, such as Bernini, theater designers such as Filippo Juvarra and John Vanbrugh, and painters, such as Michelangelo and Le Corbusier.
In the 1440s, the Florentine architect, Alberti, wrote his De Re Aedificatoria, published in 1485, a year before the first edition of Vitruvius, with which he was already familiar.[2].[3] Alberti gives the earliest definition of the role of the architect. The architect is to be concerned firstly with the construction. This encompasses all the practical matters of site, of materials and their limitations and of human capability. The second concern is "articulation"; the building must work and must please and suit the needs of those who use it. The third concern of the architect is aesthetics, both of proportion and of ornament.
The role of the architect is constantly evolving, and is central to the design and implementation of the environments in which people live. In order to obtain the skills and knowledge required to design, plan and oversee a diverse range of projects, architects must go through extensive formal education, coupled with a requisite amount of professional practice.
The work of an architect is an interdisciplinary field, drawing upon mathematics, science, art, technology, social sciences, politics and history, and often governed by the architect's personal approach or philosophy. Vitruvius, the earliest known architectural theorist, states: "Architecture is a science, arising out of many other sciences, and adorned with much and varied learning: by the help of which a judgement is formed of those works which are the result of other arts." He adds that an architect should be well versed in other fields of learning such as music and astronomy.[3] Vitruvius' broad definition of the architect still holds true to some extent today, even though business concerns and the computer have reshaped the activities and definition of the modern architect in significant ways.
Theory of Architecture
Historic treatises
The earliest written work on the subject of architecture is De architectura, by the Roman architect Vitruvius in the early 1st century CE.[3] According to Vitruvius a good building should satisfy the three principles of firmitatis utilitatis venustatis,[5] [6] which translates roughly as -
According to Vitruvius, the architect should strive to fulfil each of these three attributes as well as possible.
Leone Battista Alberti, who elaborates on the ideas of Vitruvius in his treatise, De Re Aedificatoria, saw beauty primarily as a matter of proportion, although ornament also played a part. For Alberti, the rules of proportion were those that governed the idealised human figure, the Golden Mean. The most important aspect of beauty was therefore an inherent part of an object, rather than something applied superficially; and was based on universal, recognisable truths. The notion of style in the arts was not developed until the 16th century, with the writing of Vasari.[7] The treatises, by the 18th century, had been translated into Italian, French, Spanish and English.
In the early nineteenth century, Augustus Welby Northmore Pugin wrote Contrasts (1836) that, as the titled suggested, contrasted the modern, industrial world, which he disparaged, with an idealized image of neo-medieval world. Gothic architecture, Pugin believed, was the only “true Christian form of architecture.”
The 19th century English art critic, John Ruskin, in his Seven Lamps of Architecture, published 1849,[8] was much narrower in his view of what constituted architecture. Architecture was the "art which so disposes and adorns the edifices raised by man … that the sight of them" contributes "to his mental health, power, and pleasure". For Ruskin, the aesthetic was of overriding significance. His work goes on to state that a building is not truly a work of architecture unless it is in some way "adorned". For Ruskin, a well-constructed, well-proportioned, functional building needed string courses or rustication, at the very least.
On the difference between the ideals of "architecture" and mere "construction", the renowned 20th C. architect Le Corbusier wrote: "You employ stone, wood, and concrete, and with these materials you build houses and palaces: that is construction. Ingenuity is at work. But suddenly you touch my heart, you do me good. I am happy and I say: This is beautiful. That is Architecture".[9]
Modern concepts of architecture
The great 19th century architect of skyscrapers, Louis Sullivan, promoted an overriding precept to architectural design: "Form follows function".
While the notion that structural and aesthetic considerations should be entirely subject to functionality was met with both popularity and scepticism, it had the effect of introducing the concept of "function" in place of Vitruvius "utility". "Function" came to be seen as encompassing all criteria of the use, perception and enjoyment of a building, not only practical but also aesthetic, psychological and cultural.
Nunzia Rondanini stated, "Through its aesthetic dimension architecture goes beyond the functional aspects that it has in common with other human sciences. Through its own particular way of expressing values, architecture can stimulate and influence social life without presuming that, in and of itself, it will promote social development. To restrict the meaning of (architectural) formalism to art for art's sake is not only reactionary; it can also be a purposeless quest for perfection or originality which degrades form into a mere instrumentality".[10]
Ivar Holm points out that the values and attitudes which underly modern architecture differ both between the schools of thought which influence architecture and between individual practising architects.[11] Among the philosophies that have influenced modern architects and their approach to building design are rationalism, empiricism, structuralism, poststructuralism, and phenomenology.
In the late 20th century a new concept was added to those included in the compass of both structure and function, the consideration of sustainability. To satisfy the modern ethos a building should be constructed in a manner which is environmentally friendly in terms of the production of its materials, its impact upon the natural and built environment of its surrounding area and the demands that it makes upon non-sustainable power sources for heating, cooling, water and waste management and lighting.
There is also a concept among architects that although architecture does not exist in a vacuum, architectural form cannot be merely a compilation of historical precedent, functional necessities, and socially aware concerns, but that to achieve significance, a work of architecture must be a transcendent synthesis of all of the former and a creation of worth in and of itself.
History
Origins and the ancient world
Architecture first evolved out of the dynamics between needs (shelter, security, worship, etc.) and means (available building materials and attendant skills). As human cultures developed and knowledge began to be formalized through oral traditions and practices, architecture became a craft. Here there is first a process of trial and error, and later improvisation or replication of a successful trial. What is termed Vernacular architecture continues to be produced in many parts of the world. Indeed, vernacular buildings make up most of the built world that people experience every day.
Early human settlements were mostly rural. Due to a surplus in production the economy began to expand resulting in urbanization thus creating urban areas which grew and evolved very rapidly in some cases, such as that of Çatal Huyuk in Anatolia and Mohenjo Daro in India. In many ancient civilizations, like the Egyptians' and Mesopotamians', architecture and urbanism reflected the constant engagement with the divine and the supernatural, while in other ancient cultures such as Persia architecture and urban planning was used to exemplify the power of the state.
The architecture and urbanism of the Classical civilizations such as the Greek and the Roman evolved from civic ideals rather than religious or empirical ones and new building types emerged. Architectural styles developed.
Texts on architecture began to be written in the Classical period. These became canons to be followed in important works, especially religious architecture. Some examples of canons are found in the writings of Vitruvius, the KaoGongJi of ancient China[12] and Vaastu Shastra of ancient India.
The architecture of different parts of Asia developed along different lines to that of Europe, Buddhist, Hindu and Sikh architecture each having different characteristics. Buddhist architecture, in particular, showed great regional diversity. In many Asian countries a pantheistic religion led to architectural forms that were designed specifically to enhance the natural landscape.
The Medieval builder
Islamic architecture began in the 7th century CE, developing from the architectural forms of the ancient Middle East but developing features to suit the religious and social needs of the society. Examples can be found throughout the Middle East, North Africa and Spain, and were to become a significant stylistic influence on European architecture during the Medieval period.
In Europe, in both the Classical and Medieval periods, buildings were not attributed to specific individuals and the names of the architects frequently unknown, despite the vast scale of the many religious buildings extant from this period. During the Medieval period guilds were formed by craftsmen to organise their trade and written contracts have survived, particularly in relation to ecclesiastical buildings. The role of architect was usually one with master builder, except in the case where a cleric, such as the Abbot Suger at Saint Denis, Paris, provided the design. Over time the complexity of buildings and their types increased. General civil construction such as roads and bridges began to be built. Many new building types such as schools, hospitals, and recreational facilities emerged.
Renaissance and the architect
With the Renaissance and its emphasis on the individual and humanity rather than religion, and with all its attendant progress and achievements, a new chapter began. Buildings were ascribed to specific architects - Brunelleschi, Alberti, Michelangelo, Palladio - and the cult of the individual had begun. But there was no dividing line between artist, architect and engineer, or any of the related vocations. At this stage, it was still possible for an artist to design a bridge as the level of structural calculations involved was within the scope of the generalist.
The Industrial Revolution
With the emerging knowledge in scientific fields and the rise of new materials and technology, architecture and engineering began to separate, and the architect began to lose ground on some technical aspects of building design. He therefore concentrated on aesthetics and the humanist aspects.
There was also the rise of the "gentleman architect" who usually dealt with wealthy clients and concentrated predominantly on visual qualities derived usually from historical prototypes, typified by the many country houses of Great Britain that were created in the Neo Gothic or Scottish Baronial styles.
Formal architectural training, in the 19th century, at, for example Ecole des Beaux Arts in France, gave much emphasis to the production of beautiful drawings and little to context and feasibility. Effective architects generally received their training in the offices of other architects, graduating to the role from draughtsmen or clerks.
Meanwhile, the Industrial Revolution laid open the door for mass production and consumption. Aesthetics became a criterion for the middle class as ornamented products, once within the province of expensive craftsmanship, became cheaper under machine production. Vernacular architecture became increasingly ornamental. House builders could access current architectural design in their work by combining features found in pattern books and architectural journals.
Modernism and reaction of architecture
The dissatisfaction with such a general situation at the turn of the twentieth century gave rise to many new lines of thought that served as precursors to Modern Architecture. Notable among these is the Deutscher Werkbund, formed in 1907 to produce better quality machine made objects. The rise of the profession of industrial design is usually placed here.
Following this lead, the Bauhaus school, founded in Germany in 1919, consciously rejected history and looked at architecture as a synthesis of art, craft, and technology.
When Modern architecture was first practiced, it was an avant-garde movement with moral, philosophical, and aesthetic underpinnings. Immediately after World War I, pioneering modernist architects sought to develop a completely new style appropriate for a new post-war social and economic order, focused on meeting the needs of the middle and working classes. They rejected the architectural practice of the academic refinement of historical styles which served the rapidly declining aristocratic order.
The approach of the Modernist architects was to reduce buildings to pure forms, removing historical references and ornament in favor of functionalist details. Buildings that displayed their construction and structure, exposing steel beams and concrete surfaces instead of hiding them behind traditional forms, were seen as beautiful in their own right. Architects such as Mies van der Rohe worked to create beauty based on the inherent qualities of building materials and modern construction techniques, trading traditional historic forms for simplified geometric forms, celebrating the new means and methods made possible by the Industrial Revolution.
Many architects resisted Modernism, finding it devoid of the decorative richness of ornamented styles. As the founders of the International Style lost influence in the late 1970s, Postmodernism developed as a reaction against the austerity of Modernism. Robert Venturi's contention that a "decorated shed" (an ordinary building which is functionally designed inside and embellished on the outside) was better than a "duck" (a building in which the whole form and its function are tied together) gives an idea of this approach.
Architecture today
Part of the architectural profession, and also some non-architects, responded to Modernism and Postmodernism by going to what they considered the root of the problem. They felt that architecture was not a personal philosophical or aesthetic pursuit by individualists; rather it had to consider everyday needs of people and use technology to give a livable environment. The Design Methodology Movement involving people such as Christopher Alexander started searching for more people-oriented designs. Extensive studies on areas such as behavioral, environmental, and social sciences were done and started informing the design process.
As many other concerns began to be recognized and the complexity of buildings began to increase (in terms of aspects such as structural systems, services and technologies), architecture started becoming more multi-disciplinary than ever. Architecture today usually requires a team of specialist professionals, with the architect being one of many, although usually the team leader.
During the last two decades of the twentieth century and into the new millennium, the field of architecture saw the rise of specializations within the profession itself by project type, technological expertise or project delivery methods. In addition, there has been an increased separation of the 'design' architect[a] from the 'project' architect[b] within some architectural office collaborations.
One of most significant recent developments in the profession is the mainstreaming of sustainability. Sustainability in architecture was pioneered in the 1970s by architects such as Ian McHarg in the US and Brenda and Robert Vale in the UK and New Zealand. The acceleration in numbers of buildings which seek to meet sustainable design principles is inline with a growing world-wide awareness of the risks of climate change. It is now widely expected of an architect that they will integrate sustainable principles into their projects. [13]
See also
Acoustics
Architect
Architectural engineering
Architectural history
Architectural style
Architectural theory
Architecture timeline
Building
Building code
Building engineering
Building Envelope
Building materials
Civil Engineering
Construction
Environmental design
History of Architecture
Interior Design
Landscape Architecture
List of architecture magazines
List of buildings
List of notable architects
Mathematics and architecture
Real Estate (Property) Development
Religious architecture
Structural Engineering
Surveying
Sustainable design
Urban Planning
Urban design
Vernacular architecture
External links
Architecture.com, published by Royal Institute of British Architects
Architecture is the art and science of designing buildings and other physical structures. A wider definition often includes the design of the total built environment from the macrolevel of town planning, urban design, and landscape architecture to the microlevel of construction details and, sometimes, furniture. The term "Architecture" is also used for the profession of providing architectural services.
Architectural design is primarily driven by the creative manipulation of mass, space, volume, texture, light, shadow, materials, program, and pragmatic elements such as cost, construction and technology, in order to achieve an end which is aesthetic, functional and often artistic. This distinguishes architecture from engineering design, which is driven primarily by the creative manipulation of materials and forms using mathematical and scientific principles.
Architectural works are perceived as cultural and political symbols and works of art. Historical civilizations are often known primarily through their architectural achievements. Such buildings as the pyramids of Egypt and the Roman Colosseum are cultural symbols, and are an important link in public consciousness, even when scholars have discovered much about a past civilization through other means. Cities, regions and cultures continue to identify themselves with and are known by their architectural monuments.[1]
Etymology and application of the term
The word "architecture" comes from the Latin, "architectura" and ultimately from Greek,"arkitekton", αρχιτεκτων, an architect, or more precisely "master builder", from the combination of αρχι a "chief" or "leader" and τεκτων, a "builder" or "carpenter."
While the primary application of the word "architecture" pertains to the built environment, by extension, the term has come to denote the art and discipline of creating an actual, or inferring an implied or apparent plan of any complex object or system. The term can be used to connote the implied architecture of abstract things such as music or mathematics, the apparent architecture of natural things, such as geological formations or the structure of biological cells, or explicitly planned architectures of human-made things such as software, computers, enterprises, and databases, in addition to buildings. In every usage, an architecture may be seen as a subjective mapping from a human perspective (that of the user in the case of abstract or physical artifacts) to the elements or components of some kind of structure or system, which preserves the relationships among the elements or components.
The Architect
Architecture as a profession is the practice of providing architectural services. The practice of architecture includes the planning, designing and oversight of a building's construction by an architect. Architectural services typically address both feasibility and cost for the builder, as well as function and aesthetics for the user.
Architecture did not start to become professionalized until the late nineteenth century. Before then, architects had ateliers and architectural education varied, from a more formal training as at the École des Beaux-Arts in France, which was founded in the mid seventeenth century, to the more informal system where students worked in an atelier until they could become independent. There were also so-called gentlemen architects, which were architects with private means. This was a tradition particularly strong in England during the eighteenth and nineteenth centuries. Lord Burlington, designer of Chiswick House, (1723-49) is an example.
Some architects were also sculptors, such as Bernini, theater designers such as Filippo Juvarra and John Vanbrugh, and painters, such as Michelangelo and Le Corbusier.
In the 1440s, the Florentine architect, Alberti, wrote his De Re Aedificatoria, published in 1485, a year before the first edition of Vitruvius, with which he was already familiar.[2].[3] Alberti gives the earliest definition of the role of the architect. The architect is to be concerned firstly with the construction. This encompasses all the practical matters of site, of materials and their limitations and of human capability. The second concern is "articulation"; the building must work and must please and suit the needs of those who use it. The third concern of the architect is aesthetics, both of proportion and of ornament.
The role of the architect is constantly evolving, and is central to the design and implementation of the environments in which people live. In order to obtain the skills and knowledge required to design, plan and oversee a diverse range of projects, architects must go through extensive formal education, coupled with a requisite amount of professional practice.
The work of an architect is an interdisciplinary field, drawing upon mathematics, science, art, technology, social sciences, politics and history, and often governed by the architect's personal approach or philosophy. Vitruvius, the earliest known architectural theorist, states: "Architecture is a science, arising out of many other sciences, and adorned with much and varied learning: by the help of which a judgement is formed of those works which are the result of other arts." He adds that an architect should be well versed in other fields of learning such as music and astronomy.[3] Vitruvius' broad definition of the architect still holds true to some extent today, even though business concerns and the computer have reshaped the activities and definition of the modern architect in significant ways.
Theory of Architecture
Historic treatises
The earliest written work on the subject of architecture is De architectura, by the Roman architect Vitruvius in the early 1st century CE.[3] According to Vitruvius a good building should satisfy the three principles of firmitatis utilitatis venustatis,[5] [6] which translates roughly as -
- durability - it should stand up robustly and remain in good condition.
- utility - it should be useful; and function well for the people using it.
- beauty - it should delight people, and raise their spirits.
According to Vitruvius, the architect should strive to fulfil each of these three attributes as well as possible.
Leone Battista Alberti, who elaborates on the ideas of Vitruvius in his treatise, De Re Aedificatoria, saw beauty primarily as a matter of proportion, although ornament also played a part. For Alberti, the rules of proportion were those that governed the idealised human figure, the Golden Mean. The most important aspect of beauty was therefore an inherent part of an object, rather than something applied superficially; and was based on universal, recognisable truths. The notion of style in the arts was not developed until the 16th century, with the writing of Vasari.[7] The treatises, by the 18th century, had been translated into Italian, French, Spanish and English.
In the early nineteenth century, Augustus Welby Northmore Pugin wrote Contrasts (1836) that, as the titled suggested, contrasted the modern, industrial world, which he disparaged, with an idealized image of neo-medieval world. Gothic architecture, Pugin believed, was the only “true Christian form of architecture.”
The 19th century English art critic, John Ruskin, in his Seven Lamps of Architecture, published 1849,[8] was much narrower in his view of what constituted architecture. Architecture was the "art which so disposes and adorns the edifices raised by man … that the sight of them" contributes "to his mental health, power, and pleasure". For Ruskin, the aesthetic was of overriding significance. His work goes on to state that a building is not truly a work of architecture unless it is in some way "adorned". For Ruskin, a well-constructed, well-proportioned, functional building needed string courses or rustication, at the very least.
On the difference between the ideals of "architecture" and mere "construction", the renowned 20th C. architect Le Corbusier wrote: "You employ stone, wood, and concrete, and with these materials you build houses and palaces: that is construction. Ingenuity is at work. But suddenly you touch my heart, you do me good. I am happy and I say: This is beautiful. That is Architecture".[9]
Modern concepts of architecture
The great 19th century architect of skyscrapers, Louis Sullivan, promoted an overriding precept to architectural design: "Form follows function".
While the notion that structural and aesthetic considerations should be entirely subject to functionality was met with both popularity and scepticism, it had the effect of introducing the concept of "function" in place of Vitruvius "utility". "Function" came to be seen as encompassing all criteria of the use, perception and enjoyment of a building, not only practical but also aesthetic, psychological and cultural.
Nunzia Rondanini stated, "Through its aesthetic dimension architecture goes beyond the functional aspects that it has in common with other human sciences. Through its own particular way of expressing values, architecture can stimulate and influence social life without presuming that, in and of itself, it will promote social development. To restrict the meaning of (architectural) formalism to art for art's sake is not only reactionary; it can also be a purposeless quest for perfection or originality which degrades form into a mere instrumentality".[10]
Ivar Holm points out that the values and attitudes which underly modern architecture differ both between the schools of thought which influence architecture and between individual practising architects.[11] Among the philosophies that have influenced modern architects and their approach to building design are rationalism, empiricism, structuralism, poststructuralism, and phenomenology.
In the late 20th century a new concept was added to those included in the compass of both structure and function, the consideration of sustainability. To satisfy the modern ethos a building should be constructed in a manner which is environmentally friendly in terms of the production of its materials, its impact upon the natural and built environment of its surrounding area and the demands that it makes upon non-sustainable power sources for heating, cooling, water and waste management and lighting.
There is also a concept among architects that although architecture does not exist in a vacuum, architectural form cannot be merely a compilation of historical precedent, functional necessities, and socially aware concerns, but that to achieve significance, a work of architecture must be a transcendent synthesis of all of the former and a creation of worth in and of itself.
History
Origins and the ancient world
Architecture first evolved out of the dynamics between needs (shelter, security, worship, etc.) and means (available building materials and attendant skills). As human cultures developed and knowledge began to be formalized through oral traditions and practices, architecture became a craft. Here there is first a process of trial and error, and later improvisation or replication of a successful trial. What is termed Vernacular architecture continues to be produced in many parts of the world. Indeed, vernacular buildings make up most of the built world that people experience every day.
Early human settlements were mostly rural. Due to a surplus in production the economy began to expand resulting in urbanization thus creating urban areas which grew and evolved very rapidly in some cases, such as that of Çatal Huyuk in Anatolia and Mohenjo Daro in India. In many ancient civilizations, like the Egyptians' and Mesopotamians', architecture and urbanism reflected the constant engagement with the divine and the supernatural, while in other ancient cultures such as Persia architecture and urban planning was used to exemplify the power of the state.
The architecture and urbanism of the Classical civilizations such as the Greek and the Roman evolved from civic ideals rather than religious or empirical ones and new building types emerged. Architectural styles developed.
Texts on architecture began to be written in the Classical period. These became canons to be followed in important works, especially religious architecture. Some examples of canons are found in the writings of Vitruvius, the KaoGongJi of ancient China[12] and Vaastu Shastra of ancient India.
The architecture of different parts of Asia developed along different lines to that of Europe, Buddhist, Hindu and Sikh architecture each having different characteristics. Buddhist architecture, in particular, showed great regional diversity. In many Asian countries a pantheistic religion led to architectural forms that were designed specifically to enhance the natural landscape.
The Medieval builder
Islamic architecture began in the 7th century CE, developing from the architectural forms of the ancient Middle East but developing features to suit the religious and social needs of the society. Examples can be found throughout the Middle East, North Africa and Spain, and were to become a significant stylistic influence on European architecture during the Medieval period.
In Europe, in both the Classical and Medieval periods, buildings were not attributed to specific individuals and the names of the architects frequently unknown, despite the vast scale of the many religious buildings extant from this period. During the Medieval period guilds were formed by craftsmen to organise their trade and written contracts have survived, particularly in relation to ecclesiastical buildings. The role of architect was usually one with master builder, except in the case where a cleric, such as the Abbot Suger at Saint Denis, Paris, provided the design. Over time the complexity of buildings and their types increased. General civil construction such as roads and bridges began to be built. Many new building types such as schools, hospitals, and recreational facilities emerged.
Renaissance and the architect
With the Renaissance and its emphasis on the individual and humanity rather than religion, and with all its attendant progress and achievements, a new chapter began. Buildings were ascribed to specific architects - Brunelleschi, Alberti, Michelangelo, Palladio - and the cult of the individual had begun. But there was no dividing line between artist, architect and engineer, or any of the related vocations. At this stage, it was still possible for an artist to design a bridge as the level of structural calculations involved was within the scope of the generalist.
The Industrial Revolution
With the emerging knowledge in scientific fields and the rise of new materials and technology, architecture and engineering began to separate, and the architect began to lose ground on some technical aspects of building design. He therefore concentrated on aesthetics and the humanist aspects.
There was also the rise of the "gentleman architect" who usually dealt with wealthy clients and concentrated predominantly on visual qualities derived usually from historical prototypes, typified by the many country houses of Great Britain that were created in the Neo Gothic or Scottish Baronial styles.
Formal architectural training, in the 19th century, at, for example Ecole des Beaux Arts in France, gave much emphasis to the production of beautiful drawings and little to context and feasibility. Effective architects generally received their training in the offices of other architects, graduating to the role from draughtsmen or clerks.
Meanwhile, the Industrial Revolution laid open the door for mass production and consumption. Aesthetics became a criterion for the middle class as ornamented products, once within the province of expensive craftsmanship, became cheaper under machine production. Vernacular architecture became increasingly ornamental. House builders could access current architectural design in their work by combining features found in pattern books and architectural journals.
Modernism and reaction of architecture
The dissatisfaction with such a general situation at the turn of the twentieth century gave rise to many new lines of thought that served as precursors to Modern Architecture. Notable among these is the Deutscher Werkbund, formed in 1907 to produce better quality machine made objects. The rise of the profession of industrial design is usually placed here.
Following this lead, the Bauhaus school, founded in Germany in 1919, consciously rejected history and looked at architecture as a synthesis of art, craft, and technology.
When Modern architecture was first practiced, it was an avant-garde movement with moral, philosophical, and aesthetic underpinnings. Immediately after World War I, pioneering modernist architects sought to develop a completely new style appropriate for a new post-war social and economic order, focused on meeting the needs of the middle and working classes. They rejected the architectural practice of the academic refinement of historical styles which served the rapidly declining aristocratic order.
The approach of the Modernist architects was to reduce buildings to pure forms, removing historical references and ornament in favor of functionalist details. Buildings that displayed their construction and structure, exposing steel beams and concrete surfaces instead of hiding them behind traditional forms, were seen as beautiful in their own right. Architects such as Mies van der Rohe worked to create beauty based on the inherent qualities of building materials and modern construction techniques, trading traditional historic forms for simplified geometric forms, celebrating the new means and methods made possible by the Industrial Revolution.
Many architects resisted Modernism, finding it devoid of the decorative richness of ornamented styles. As the founders of the International Style lost influence in the late 1970s, Postmodernism developed as a reaction against the austerity of Modernism. Robert Venturi's contention that a "decorated shed" (an ordinary building which is functionally designed inside and embellished on the outside) was better than a "duck" (a building in which the whole form and its function are tied together) gives an idea of this approach.
Architecture today
Part of the architectural profession, and also some non-architects, responded to Modernism and Postmodernism by going to what they considered the root of the problem. They felt that architecture was not a personal philosophical or aesthetic pursuit by individualists; rather it had to consider everyday needs of people and use technology to give a livable environment. The Design Methodology Movement involving people such as Christopher Alexander started searching for more people-oriented designs. Extensive studies on areas such as behavioral, environmental, and social sciences were done and started informing the design process.
As many other concerns began to be recognized and the complexity of buildings began to increase (in terms of aspects such as structural systems, services and technologies), architecture started becoming more multi-disciplinary than ever. Architecture today usually requires a team of specialist professionals, with the architect being one of many, although usually the team leader.
During the last two decades of the twentieth century and into the new millennium, the field of architecture saw the rise of specializations within the profession itself by project type, technological expertise or project delivery methods. In addition, there has been an increased separation of the 'design' architect[a] from the 'project' architect[b] within some architectural office collaborations.
One of most significant recent developments in the profession is the mainstreaming of sustainability. Sustainability in architecture was pioneered in the 1970s by architects such as Ian McHarg in the US and Brenda and Robert Vale in the UK and New Zealand. The acceleration in numbers of buildings which seek to meet sustainable design principles is inline with a growing world-wide awareness of the risks of climate change. It is now widely expected of an architect that they will integrate sustainable principles into their projects. [13]
See also
Acoustics
Architect
Architectural engineering
Architectural history
Architectural style
Architectural theory
Architecture timeline
Building
Building code
Building engineering
Building Envelope
Building materials
Civil Engineering
Construction
Environmental design
History of Architecture
Interior Design
Landscape Architecture
List of architecture magazines
List of buildings
List of notable architects
Mathematics and architecture
Real Estate (Property) Development
Religious architecture
Structural Engineering
Surveying
Sustainable design
Urban Planning
Urban design
Vernacular architecture
External links
Architecture.com, published by Royal Institute of British Architects
Built environment
Built environment
The phrase built environment refers to the man-made surroundings that provide the setting for human activity, ranging from the large-scale civic surroundings to the personal places.
In architecture and environmental psychology, the phrase is a useful acknowledgement that a small fraction of buildings constructed annually, even in the industrialized world, are designed by architects, and that users of the built environment encounter issues that cross the traditional professional boundaries between urban planners, traffic engineers, zoning authorities, architects, interior designers, industrial designers, etc. Historically, much of the built environment has taken the form of vernacular architecture, and this is still the case in large parts of the world. In the industrialized world, many buildings are produced by large scale development remote from its eventual users.
In landscape architecture, the built environment is identified as opposed to the natural environment, with the recognition that places like Central Park may have the look, feel, and nourishing quality of natural surroundings while being completely artificial and "built", thus blurring the line between the two.
In urban planning, the phrase connotes the idea that a large percentage of the human environment is manmade, and these artificial surroundings are so extensive and cohesive that they function as organisms in the consumption of resources, disposal of wastes, and facilitation of productive enterprise within its bounds.Recently there has also been considerable dialogue and research into the impact of the built environment's impact on population health (see www.activelivingbydesign.org).
See also
Urbanism
City planning
Architecture
Vernacular architecture
Sustainable vernacular architecture
Landscape
Landscape architecture
Interior architecture
Construction
Environmental Design Research Association
International_Association_of_People-Environment_Studies
Cultural landscape
Environmental psychology
The phrase built environment refers to the man-made surroundings that provide the setting for human activity, ranging from the large-scale civic surroundings to the personal places.
In architecture and environmental psychology, the phrase is a useful acknowledgement that a small fraction of buildings constructed annually, even in the industrialized world, are designed by architects, and that users of the built environment encounter issues that cross the traditional professional boundaries between urban planners, traffic engineers, zoning authorities, architects, interior designers, industrial designers, etc. Historically, much of the built environment has taken the form of vernacular architecture, and this is still the case in large parts of the world. In the industrialized world, many buildings are produced by large scale development remote from its eventual users.
In landscape architecture, the built environment is identified as opposed to the natural environment, with the recognition that places like Central Park may have the look, feel, and nourishing quality of natural surroundings while being completely artificial and "built", thus blurring the line between the two.
In urban planning, the phrase connotes the idea that a large percentage of the human environment is manmade, and these artificial surroundings are so extensive and cohesive that they function as organisms in the consumption of resources, disposal of wastes, and facilitation of productive enterprise within its bounds.Recently there has also been considerable dialogue and research into the impact of the built environment's impact on population health (see www.activelivingbydesign.org).
See also
Urbanism
City planning
Architecture
Vernacular architecture
Sustainable vernacular architecture
Landscape
Landscape architecture
Interior architecture
Construction
Environmental Design Research Association
International_Association_of_People-Environment_Studies
Cultural landscape
Environmental psychology
Architectural conservation
Architectural conservation
Architectural conservation describes the process through which the material, historical, and design integrity of mankind's built heritage are prolonged through carefully planned interventions. The individual engaged in this pursuit is known as an architectural conservator. Decisions of when and how to engage in an intervention are critical to the ultimate conservation of the immovable object. Ultimately, the decision is value based: a combination of artistic, contextual, and informational values is normally considered. In some cases, a decision to not intervene may be the most appropriate choice.
Narrow definition
Architectural conservation deals with issues of prolonging the life and integrity of architectural materials, such as stone, brick, glass, metal, and wood. In this sense, the term refers to the "professional use of a combination of science, art, craft, and technology as a preservation tool" [1] and is allied with its parent field, art conservation.
Broad definition
In addition to the art/science definition described above, architectural conservation may refer to issues of identification, policy, regulation, and advocacy associated with the entirety of the older built environment. This broader scope recognizes that society must have mechanisms to identity and value historic cultural resources, create laws to protect these resources, and develop policies and management plans for interpretation, protection, and education.
Regional usage
In the United States, architectural conservation is used in the narrow sense and applies to the art/scientific treatment of cultural heritage and is considered to be a subset of historic preservation. In most other areas of the world, architectural conservation is used broadly for all aspects of the older built environment and is a subset of heritage conservation or cultural patrimony.[2]
In Asia where many of the fast developing and redeveloping cities are facing the issue of protecting its built heritage, architectural conservation becomes synonymous with urban conservation. A case in point is Singapore, where the government's Urban Redevelopment Authority[3] directs urban planning and urban architectural conservation.
In China, heritage conservation is divided into archaeology and architectural conservation. Increasingly, heritage conservation, be they of underground or above ground nature, is employed as the means to the economic end of tourism development. Regional governments in China are realizing the economic potential (through domestic and international tourism) of having World Heritage Sites in their possession, and there has been a flurry to apply for listing of heritage sites on the UNESCO World Heritage List.
The threat of over-commercialization of heritage sites with World Heritage status in China to cater to the hordes of domestic and foreign tourists, as already happened to the historic town of Lijiang, has highlighted the importance of the field of cultural heritage management--how to maintain the site in a sustainable way after it has been proper conserved and opened to visitors. Hence, architectural Conservation in the Chinese context is increasingly more closely allied with heritage management and tourism studies.
Related journals
International Journal of Architectural Heritage
Journal of the American Institute for Conservation
See also
Historic Preservation
Art conservation and restoration
Materials science
Category:Heritage organizations
English Heritage
List of historic houses
National Register of Historic Places
National Trusts worldwide
World Heritage Sites
External links
Icon, the Institute of Conservation (UK Professional body)*
Yin Yu Tang: A Chinese Home Residing in Salem, Ma this authentic and fully rebuilt Chinese house of the Huang family, offers an in depth and interactive look into accurately restored Chinese architecture of the Qing dynasty.
Asian Academy for Heritage Management, a virtual institute under UNESCO Bangkok's Office of the Regional Advisor for Culture in Asia and the Pacific.
UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation.
Architectural Conservation Programme at The University of Hong Kong, Asia's leading postgraduate-level professional programme in built-heritage conservation.
Cultural Heritage Management Programme in the School of Professional and Continuing Education at The University of Hong Kong, a postgraduate-level professional programme that focuses on the management of cultural heritage assets.
American Institute for Conservation, the professional body in the US representing practitioners of architectural conservation.
Parks Canada, the official Canadian government agency responsible for the conservation of Canada's natural and cultural (tangible and intangible) heritage.
English Heritage, the official British government agency responsible for the conservation of English heritage.
Historic Scotland, the official British government agency responsible for the conservation of Scottish heritage.
Antiquities and Monuments Office, the official agency of the Hong Kong Government responsible for the conservation of local cultural heritage.
Heritage of Malaysia Trust, the quasi-government agency in Malaysia responsible for the conservation of local cultural heritage.
Architectural conservation describes the process through which the material, historical, and design integrity of mankind's built heritage are prolonged through carefully planned interventions. The individual engaged in this pursuit is known as an architectural conservator. Decisions of when and how to engage in an intervention are critical to the ultimate conservation of the immovable object. Ultimately, the decision is value based: a combination of artistic, contextual, and informational values is normally considered. In some cases, a decision to not intervene may be the most appropriate choice.
Narrow definition
Architectural conservation deals with issues of prolonging the life and integrity of architectural materials, such as stone, brick, glass, metal, and wood. In this sense, the term refers to the "professional use of a combination of science, art, craft, and technology as a preservation tool" [1] and is allied with its parent field, art conservation.
Broad definition
In addition to the art/science definition described above, architectural conservation may refer to issues of identification, policy, regulation, and advocacy associated with the entirety of the older built environment. This broader scope recognizes that society must have mechanisms to identity and value historic cultural resources, create laws to protect these resources, and develop policies and management plans for interpretation, protection, and education.
Regional usage
In the United States, architectural conservation is used in the narrow sense and applies to the art/scientific treatment of cultural heritage and is considered to be a subset of historic preservation. In most other areas of the world, architectural conservation is used broadly for all aspects of the older built environment and is a subset of heritage conservation or cultural patrimony.[2]
In Asia where many of the fast developing and redeveloping cities are facing the issue of protecting its built heritage, architectural conservation becomes synonymous with urban conservation. A case in point is Singapore, where the government's Urban Redevelopment Authority[3] directs urban planning and urban architectural conservation.
In China, heritage conservation is divided into archaeology and architectural conservation. Increasingly, heritage conservation, be they of underground or above ground nature, is employed as the means to the economic end of tourism development. Regional governments in China are realizing the economic potential (through domestic and international tourism) of having World Heritage Sites in their possession, and there has been a flurry to apply for listing of heritage sites on the UNESCO World Heritage List.
The threat of over-commercialization of heritage sites with World Heritage status in China to cater to the hordes of domestic and foreign tourists, as already happened to the historic town of Lijiang, has highlighted the importance of the field of cultural heritage management--how to maintain the site in a sustainable way after it has been proper conserved and opened to visitors. Hence, architectural Conservation in the Chinese context is increasingly more closely allied with heritage management and tourism studies.
Related journals
International Journal of Architectural Heritage
Journal of the American Institute for Conservation
See also
Historic Preservation
Art conservation and restoration
Materials science
Category:Heritage organizations
English Heritage
List of historic houses
National Register of Historic Places
National Trusts worldwide
World Heritage Sites
External links
Icon, the Institute of Conservation (UK Professional body)*
Yin Yu Tang: A Chinese Home Residing in Salem, Ma this authentic and fully rebuilt Chinese house of the Huang family, offers an in depth and interactive look into accurately restored Chinese architecture of the Qing dynasty.
Asian Academy for Heritage Management, a virtual institute under UNESCO Bangkok's Office of the Regional Advisor for Culture in Asia and the Pacific.
UNESCO Asia-Pacific Heritage Awards for Culture Heritage Conservation.
Architectural Conservation Programme at The University of Hong Kong, Asia's leading postgraduate-level professional programme in built-heritage conservation.
Cultural Heritage Management Programme in the School of Professional and Continuing Education at The University of Hong Kong, a postgraduate-level professional programme that focuses on the management of cultural heritage assets.
American Institute for Conservation, the professional body in the US representing practitioners of architectural conservation.
Parks Canada, the official Canadian government agency responsible for the conservation of Canada's natural and cultural (tangible and intangible) heritage.
English Heritage, the official British government agency responsible for the conservation of English heritage.
Historic Scotland, the official British government agency responsible for the conservation of Scottish heritage.
Antiquities and Monuments Office, the official agency of the Hong Kong Government responsible for the conservation of local cultural heritage.
Heritage of Malaysia Trust, the quasi-government agency in Malaysia responsible for the conservation of local cultural heritage.
Tuesday, December 4, 2007
Community areas of Chicago
Community areas of Chicago
The city of Chicago is divided into seventy-seven community areas. Census data are tied to the community areas, and they serve as the basis for a variety of urban planning initiatives on both the local and regional levels.
The University of Chicago defined seventy-five community areas during the late 1920s, which at that time corresponded roughly to neighborhoods within the city. In the 1950s, with the city's annexations for O'Hare airport, a seventy-sixth community area was added. Other than the creation of the seventy-seventh community area in 1980 (by separating #77 Edgewater from #3 Uptown), boundaries have never been revised to reflect change but instead have been kept relatively stable to allow comparisons of these areas over time.
Today many of the community areas no longer correspond to any single neighborhood, and some community area names have fallen out of colloquial use. In many cases, the actual character of the community area is quite independent of that of the individual neighborhoods which comprise it.
Community Area designations are useful more than merely as a historical curiosity because they are considered more durable than the names of neighborhoods, which can change over time due to urban redevelopment, gentrification and the constant shuffle and absorption of the immigrant population.
Alternate geographic breakdowns
Parishes
Another method of neighborhood nomenclature in heavily Catholic neighborhoods of Chicago has been to refer to communities in terms of parishes. For example, one might say, "I live in St. Gertrude's, but he's from Saint Ita's."
Wards
Since 1923 Chicago has been divided into 50 City Council Aldermanic wards.[1] Each of the 50 areas is represented on the City council by one Alderman and in many social, political and economic contexts, it is reasonable to describe what part of Chicago one is from by who one's alderman is or what ward one lives in. However, using wards as the basis for comparing areas of the city over time has limited utility, due to the fact that the wards need to be redistricted every ten years. The current ward boundaries are mapped here
External links
City of Chicago Department of Planning and Development
Community Area Demographics
Community Area Maps
Chicago Area Geographic Information Study (CAGIS)
Northeastern Illinois Planning Commission
Census 2000 Chicago Community Area Profiles
MCIC (Metro Chicago Information Center)
Metro Chicago Facts Online
The city of Chicago is divided into seventy-seven community areas. Census data are tied to the community areas, and they serve as the basis for a variety of urban planning initiatives on both the local and regional levels.
The University of Chicago defined seventy-five community areas during the late 1920s, which at that time corresponded roughly to neighborhoods within the city. In the 1950s, with the city's annexations for O'Hare airport, a seventy-sixth community area was added. Other than the creation of the seventy-seventh community area in 1980 (by separating #77 Edgewater from #3 Uptown), boundaries have never been revised to reflect change but instead have been kept relatively stable to allow comparisons of these areas over time.
Today many of the community areas no longer correspond to any single neighborhood, and some community area names have fallen out of colloquial use. In many cases, the actual character of the community area is quite independent of that of the individual neighborhoods which comprise it.
Community Area designations are useful more than merely as a historical curiosity because they are considered more durable than the names of neighborhoods, which can change over time due to urban redevelopment, gentrification and the constant shuffle and absorption of the immigrant population.
Alternate geographic breakdowns
Parishes
Another method of neighborhood nomenclature in heavily Catholic neighborhoods of Chicago has been to refer to communities in terms of parishes. For example, one might say, "I live in St. Gertrude's, but he's from Saint Ita's."
Wards
Since 1923 Chicago has been divided into 50 City Council Aldermanic wards.[1] Each of the 50 areas is represented on the City council by one Alderman and in many social, political and economic contexts, it is reasonable to describe what part of Chicago one is from by who one's alderman is or what ward one lives in. However, using wards as the basis for comparing areas of the city over time has limited utility, due to the fact that the wards need to be redistricted every ten years. The current ward boundaries are mapped here
External links
City of Chicago Department of Planning and Development
Community Area Demographics
Community Area Maps
Chicago Area Geographic Information Study (CAGIS)
Northeastern Illinois Planning Commission
Census 2000 Chicago Community Area Profiles
MCIC (Metro Chicago Information Center)
Metro Chicago Facts Online
Subscribe to:
Comments (Atom)