scholarly journals From Pathways to Portals: Getting to the Root of a Public Housing Community

2011 ◽  
Vol 11 (2) ◽  
pp. 70-96
Author(s):  
Nicola Mann

The Chicago Housing Authority is currently in the late stages of a controversial ten-year urban renewal initiative that will see the city’s public housing projects replaced with mixed-income accommodations. Ordered to pack up and leave not only their homes but also lifelong friends and support networks, many project residents have, quite literally, had their roots yanked from beneath their feet. In this essay I employ the iconographic uses of natural imagery present in Kerry James Marshall’s Garden Project paintings (1993-1994) and Daniel Roth’s installation Cabrini Green Forest (2004) to, first, explore the “rooted” attachment of public housing dwellers to their living environment and, second, to consider the desire of many residents to safeguard community landmarks against the threat of demolition.

2021 ◽  
Vol 25 (1) ◽  
pp. 55-68
Author(s):  
Mark David Major

Pruitt-Igoe, in St Louis, Missouri, United States, was one of the most notorious social housing projects of the twentieth century. Charles Jencks argued opening his book The Language of Post-Modern Architecture, ‘Modern Architecture died in St Louis, Missouri on July 15, 1972 at 3.32 pm (or thereabouts) when the infamous Pruitt-Igoe scheme, or rather several of its slab blocks, were given the final coup de grâce by dynamite.’ However, the magazine Architectural Forum had heralded the project as ‘the best high apartment’ of the year in 1951. Indeed, one of its first residents in 1957 described Pruitt-Igoe as ‘like an oasis in a desert, all of this newness’. But a later resident derided the housing project as ‘Hell on Earth’ in 1967. Only eighteen years after opening, the St Louis Public Housing Authority (PHA) began demolishing Pruitt-Igoe in 1972 [1]. It remains commonly cited for the failures of modernist design and planning.


1971 ◽  
Vol 5 (3) ◽  
pp. 265-280
Author(s):  
P. J. Madgwick

The Housing Act of 1949 established in Title I the goal of ‘a decent home and a suitable living environment for every American family’. To achieve this goal the Federal Government was to support, by grants and by its legal powers to acquire land, a massive programme of public housing: ‘…it was the first and, until the Act of 1968, the only public housing measure that authorized action that bore some reasonable relation to need’. Nevertheless, the targets set by the 1949 Act for 1954 have still not been reached. Subsequent legislation shifted the emphasis of the programme from public housing to broader schemes of urban renewal, including non-residential development and middle- and high-income housing. The most serious aspect of this neglect of the needs of the poor has been the inadequate management of relocation for those displaced by renewal. For many slum-dwellers in the 1950s ‘urban renewal’ came to mean ‘Negro removal’.


2018 ◽  
pp. 69-88
Author(s):  
Lawrence J. Vale

Chapters 3–5 focus on New Orleans to illustrate one dominant strand of HOPE VI practice—the confluence of a weak housing authority and a Big Developer governance constellation in a city without a robust tradition of coordinated tenant empowerment. Chapter 3 traces the rise and fall of the St. Thomas development, completed in 1941 and later extended in 1952. This replaced a mixed-race “slum” area with public housing for white tenants, an act entailing a substantial neighborhood purge. The fifteen-hundred-unit development shifted to primarily black occupancy following desegregation in the 1960s and subsequently underwent disinvestment that led to a protracted decline. Meanwhile, the Louisiana legislature rescinded the state enabling legislation for urban renewal, thereby limiting its impact on both slum clearance while also curtailing the rise of community organizing. White preservationists stopped the Riverfront Expressway, but no one stopped Interstate 10 from devastating a black neighborhood.


2013 ◽  
Vol 13 (4) ◽  
pp. 341-356
Author(s):  
Nicholas Bauroth

This study uses urban regime theory to understand the events surrounding Fargo urban renewal during the 1950s. Specifically, it focuses upon the struggle between realtors, banking officers, government officials, and other local actors, as they established a plan for relocating Fargo residents displaced by urban renewal. With a downtown Civic Center as their ultimate goal, coalition partners set aside their differences and produced an unprecedented plan: to avoid any reliance on public housing, relocation would be handled via the private sector, specifically the Fargo Board of Realtors. The study demonstrates that this relocation plan and its subsequent revisions reflected the interests of the individual regime members.


2019 ◽  
Vol 6 (1) ◽  
pp. 32-61
Author(s):  
Vanessa Rosa

This article examines the uses of “diversity” in the revitalization of two public housing projects in Toronto, Canada: Regent Park and Lawrence Heights. Both revitalization plans emphasize a diversity of use, diversity of income, and diversity of culture. I argue the diversity of diversity serves as a legitimizing tool for the revitalization projects and that the use of the term is productively ambiguous and draws from the cachet of Canadian multiculturalism, without explicitly naming race and racial inequality. My analysis sheds light on tensions between the types of diversity, challenging the potential for the framework to address structural inequality via revitalization. While both diversity and mix (mixed income or diversity of incomes, for example) are generally taken-for-granted terms in planning discourse, promoting more equitable planning practices requires analyzing them more closely in context.


2019 ◽  
Vol 5 (3) ◽  
pp. 701-730
Author(s):  
Erica Mahoney

Public housing units are deteriorating while there are insufficient allocations for their renovation or maintenance. In 2012, Congress initiated the Rental Assistance Demonstration (“RAD”) in an attempt to save public housing without the need to apportion additional funds to housing assistance pro- grams. The RAD program converts public housing to mixed-income housing and transfers majority ownership to private developers. Current tenants of these public housing complexes are transferred to mixed-income apartment complexes owned by private landlords and developers who receive a portion of the rent from the tenant and additional rent from the local Public Housing Authority. The success of the RAD program is dependent on landlords and developers voluntarily participating and electing to dedicate units to affordable housing. This Comment discusses the legal exposures these landlords face when participating in RAD, methods of mitigating these risks, and policies to incentivize participation.


Bulletin KNOB ◽  
2021 ◽  
pp. 1-19
Author(s):  
Aimée Albers

In the 1970s and ’80s residents and architects in Amsterdam worked together to shape the renewal of their neighbourhood. Working outside traditional planning constraints they initiated a process for designing ‘neighbourhood plans’ that gave priority to affordable housing and minimized disruption to the existing social and urban design structure. Although these neighbourhood plans stood in stark contrast to prevailing political and urban planning ideas, they formed the basis on which urban renewal was realized from the middle of the 1970s. While the focus in the historiography of urban renewal is usually on politics and policy, this article provides insight into the design process itself and the ideas behind urban renewal architecture based on numerous consultation documents generated by the collaboration between local residents and architects. The Dapperbuurt area serves as an exemplary case study. The example of the Dapperbuurt shows that locals and architects formed energetic and effective coalitions. After the residents of the Dapperbuurt had won far-reaching control over the design process, including a say in the choice of architect, they entered into a collaboration with the architects Hans Borkent, Rob Blom van Assendelft and Hein de Haan. During the extensive consultation process the architects acted as equal discussion partners rather than all-knowing experts, while local residents provided creativity and spontaneous initiatives and had the final say. Together they designed with ‘direct democracy’. In this article those collaborative arrangements are referred to as ‘creative housing coalitions’. This term expresses both their main aim and their greatest strength. It also shows who initiated the urban renewal housing projects and how grass-roots initiatives were ultimately translated into policy. In the course of the design process, local residents and their architects sought creative ways of reconciling the apparent antithesis between the historically evolved city and modern architecture and urban design. Instead of taking a blank slate as their starting point, they proceeded on the basis of the qualities of the existing environment and the interests and wishes of the residents. This resulted in the retention of the existing morphology and functional diversity. However, the housing projects were on a much larger scale than the individual buildings that had previously made up the neighbourhood, because while the local residents were unwilling to give up their familiar living environment, they did want modern home comforts. This study has revealed that the replacement construction was required to combine the best of both worlds. In order to suggest a smaller scale, the external walls were vertically articulated, and their height demarcated by means of balconies, bay windows, hoisting beams, eaves and staggered building lines. So both contrast to and compatibility with the context are relevant criteria for evaluating urban renewal architecture. In addition, it turns out that a key merit of this urban renewal was its function, namely to deliver affordable and comfortable housing on centrally located sites with high land values. The architecture gives expression to that function.


1991 ◽  
Vol 41 (4) ◽  
pp. 57-59
Author(s):  
Barbara Mahany

EDITORIAL: Sweet Notes in the Projects The notion of letting children in Chicago Housing Authority developments take violins, cellos and string basses home to practice music composed a few centuries before the birth of Michael Jackson or Kool Moe Dee may seem bizarre to some, particularly those who have the benighted belief that nothing good can come out of “the projects.” It is a novel idea but, as Chicago has seen with CHA night basketball, the novel often sounds like nonsense but works quite nicely. The good that can be found in the quarter-million children who call CHA developments home is well represented in the 26 chosen so far for the Music Cultivation Program for CHA Youth. They range from kinder-garteners to 9th graders and were selected in July from four developments by teachers from the not-for-profit Merit Music Program. Officials of CHA and the 11-year-old Merit Music Program hope the Music Cultivation Program eventually will become a full symphony orchestra with bass, winds, percussion and strings. But for now, the children's parents must endure, like other good parents everywhere, the bittersweet joy and agony of hearing young hands become familiar with bows and strings. It may comfort them to know that the CHA's classical music pioneers are engaging in an experience that will help give structure and meaning to their lives no less than it does for children who live anywhere else. Whether or not they achieve their dreams of performing in Orchestra Hall someday—and who is to say some won't?—the lessons of form, grace, teamwork and discipline will serve them well, no matter what fields they pursue later in their lives. With determination on their part and support from others, the young musicians will find their horizons broadened and their self-esteem improved. And everyone else should have their hopes and dreams for the next generation boosted a little with the knowledge that, behind the torn window screens and graffiti-covered walls of public housing, some budding young talents are making beautiful music together.


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