CONCEPT OF DUANY

In 1977, Duany co-founded the Miami firm Arquitectonica with his wife, Elizabeth Plater-Zyberk;
Bernardo Fort-Brescia; Laurinda Spear; and Hervin Romney. Arquitectonica became famous for playful
Latin-American influenced modernism. The firm's Atlantis Condominium was featured prominently in the
opening credits of the television series Miami Vice.

1980, Duany and Elizabeth Plater-Zyberk founded Duany Plater-Zyberk & Company (DPZ), based in
Miami, Florida.participated in the New Urbanism, an international urban planning movement opposed
to suburban sprawl and urban disinvestment. The firm first received recognition as the designer of new
towns such as Seaside, Florida and Kentlands, Maryland. The firm has since completed designs and
codes for over three hundred new towns, regional plans, and inner-city revitalization projects. Duany is
also considered to be a representative of New Classical Architecture.

Duany is a co-founder and emeritus board member of the Congress for the New Urbanism (CNU),
established in 1993.He has co-authored five books: Suburban Nation: The Rise of Sprawl and the Decline
of the American Dream; The New Civic Art; The Smart Growth Manual; Garden Cities; and Landscape
Urbanism and Its Discontents. Duany has worked as visiting professor at many institutions and holds two
honorary doctorates. He is a fellow of the American Institute of Architects and an adjunct professor at
the University of Miami.

CONCEPT OF REM KOOLHAAS

has been 12 years since the Dutch architect Rem Koolhaas unleashed his concept of “the generic city,” a
sprawling metropolis of repetitive buildings centered on an airport and inhabited by a tribe of global
nomads with few local loyalties. His argument was that in its profound sameness, the generic city was a
more accurate reflection of contemporary urban reality than nostalgic visions of New York or Paris. He
designed for one of the biggest developers in the United Arab Emirates, Nakheel, Mr. Koolhaas’s master
plan for the proposed 1.5-billion-square-foot Waterfront City in Dubai would simulate the density of
Manhattan on an artificial island just off the Persian Gulf. A mix of nondescript towers and occasional
bold architectural statements, it would establish Dubai as a center of urban experimentation as well as
one of the world’s fastest growing metropolises.

strategy is not to reject either trend outright but to locate each one’s hidden, untapped potential, or as
he puts it, “to find optimism in the inevitable.”In Dubai Mr. Koolhaas and his Office for Metropolitan
Architecture seem at first glance to have simply combined the two concepts, creating a hybrid of the
generic and the fantastic. The core of the development would be the island, which would be divided into
25 identical blocks. Neat rows of towers — some tall and slender, others short and squat, depending on
the zoning — line the blocks, as if a fragment of Manhattan had been removed with a scalpel and
reinserted in the Middle East.

The monotony is broken by mixed-use structures whose immense scale and formal energy draw on
mythic examples from architectural history. A spiraling 82-story tower might have been inspired by the
minaret of the ninth-century Great Mosque of Samarra in Iraq; a gargantuan 44 story sphere brings to
mind the symbolic forms of the 18th-century architect Étienne-Louis Boullée. The tilting intertwined
towers of a complex dubbed “the loop” are a more elaborate version of Mr. Koolhaas’s headquarters for
China Central Television, being built in Beijing.These varied elements are organized by Koolhaas’s
customary flair for composition. (Although his desire to tackle big urban issues can sometimes make him
seem dismissive of the design work that makes up the average architect’s life, he remains one of the art’s
greatest practitioners.) island project would be a perfect square, emphasizing its isolation. The tallest
towers are concentrated along the project’s southern edge to shield the interior blocks from the blazing
sun. The gigantic sphere is placed precariously at the water’s edge, setting the entire ensemble artfully
off balance. The spiraling tower stands just across from it, on a narrow spit of land that forms a barrier
between the island and the gulf.

He addresses the island’s isolation raises the most difficult questions. If his island of densely packed
towers evokes a fragment of the great 20th-century metropolis, it can also conjure its dystopian twin: a
miniaturized version of a city of glittering towers built for the global elite, barricaded against the urban
poor and its makeshift shantytowns. Koolhaas softens this effect by creating a series of somewhat
tenuous connections to other developments on the mainland. Along with four slender bridges — one on
each side of the square — Mr. Koolhaas plans to link the project to the fledging Dubai transit system,
which is already under construction. More towers would rise opposite the island on a curved
embankment, as if the island city were spilling beyond its boundaries.But the thrust of his strategy is to
turn the logic of the gated community on its head: isolation becomes a way to trap urban energy rather
than keep it out. His goal is to imbue his waterfront enclave with enough complexity to provide a distilled
version of the great metropolis within this moated sanctuary.A waterfront boardwalk would surround
the island. A narrow public park slices through its center; shaded sidewalk arcades are meant to draw
people out of the air-conditioned buildings. In its northeastern reaches the plan’s geometric grid gives
way to an intimate warren of alleyways, like a traditional souk.

CONCEPT OF BURNHAM

Burnham at Chicago offices of Carter, Drake and Wight, where he met future business partner John
Wellborn Root, who was 21, four years younger than Burnham. The two became friends and then
opened an architectural office together in 1873. Unlike his previous ventures, Burnham stuck to this one.
Burnham and Root went on to become a very successful firm. Their first major commission came from
John B. Sherman, the superintendent of the massive Union Stock Yards in Chicago, which provided the
liveliehood – directly or indirectly – for one-fifth of the city's population. Sherman hired the firm to build
for him a mansion on Prairie Avenue at Twenty-first Street among the mansions of Chicago's other
merchant barons. Root made the initial design. Burnham refined it and supervised the construction. It
was on the construction site that he met Sherman's daughter, Margaret, whom Burnham would marry in
1876 after a short courtship. Sherman would commission other projects from Burnham and Root,
including the Stone Gate, an entry portal to the stockyards, which became a Chicago landmark.
In 1881, the firm was commissioned to build the Montauk Building, which would be the tallest building
in Chicago at the time. To solve the problem of the city's water-saturated sandy soil and bedrock 125 feet
(38 m) below the surface, Root came up with a plan to dig down to a "hardpan" layer of clay on which
was laid a 2-foot (0.61 m) thick pad of concrete overlaid with steel rails placed at right-angles to form a
lattice "grill", which was then filled with Portland cement. This "floating foundation" was, in effect,
artificially-created bedrock on which the building could be constructed. The completed building was so
tall compared to existing buildings that it defied easy description, and the name "skyscraper" was coined
to describe it. Thomas Talmadge, an architect and architectural critic, said of the building, "What
Chartres was to the Gothic cathedral, the Montauk Block was to the high commercial building and Root
went on to build more of the first American skyscrapers, such as the Masonic Temple Building[10] in
Chicago. Measuring 21 stories and 302 feet, the temple held claims as the tallest building of its time, but
was torn down in 1939.

CINCEPT OF Edmund Norwood Bacon

Edmund Norwood Bacon was an American urban planner, architect, educator, and author. During his
tenure as the Executive Director of the Philadelphia City Planning Commission from 1949 to 1970, his
visions shaped today's Philadelphia, the city in which he was born, to the extent that he is sometimes
described as "The Father of Modern Philadelphia.

He vividly demonstrates how the work of great architects and planners of the past can influence
subsequent development and be continued by later generations. By illuminating the historical
background of urban design, Bacon also shows us the fundamental forces and considerations that
determine the form of a great city. Perhaps the most significant of these are simultaneous movement
systems—the paths of pedestrian and vehicular traffic, public and private transportation—that serve as
the dominant organizing force, and Bacon looks at movement systems in cities such as London, Rome,
and New York. He also stresses the importance of designing open space as well as architectural mass and
discusses the impact of space, color, and perspective on the city-dweller. That the centers of cities should
and can be pleasant places in which to live, work, and relax is illustrated by such examples as Rotterdam
and Stockholm.

CONCEPT OF Kevin A Lynch.

Kevin A Lynch was one of the pioneers in urban planning before the profession was well-known or came
into existence. Architecture was a prominent profession in America during his times and he trained
under a few architects before he taught and trained as an urban planner. He studied under Frank Lloyd
Wright and completed his City Planning degree from MIT which was and is still one of the most popular
and competitive institutions in America. He was known for his work on the different types of sensory
inputs that people receive from their environment. His most famous work is called The Image of the City
highlighting how people use the city on a daily basis. This was a pioneering work in the field after which
psychological perspectives of urban planning came into existence with the works of Jane Jacobs, Jan Gehl
and similar philosophers who have closely followed the concepts of Kevin Lynch.
His work on City Sense and City Design was the first of its kind to highlight the importance of design
principles in urban planning. Sensory inputs that people gather in their cities is closely related to the
overall urban design principles of the ways in which the city is structured and functions regularly. Not
only is the design of public spaces important, but also the design of our streets, roads, and overall
infrastructure of the built environment are important in understanding how we perceive and understand
our cities at a psychological level. This concept is also important for map making and GIS-based design.
This book highlights humanistic philosophies and principles that are still not followed in many cities
around the world. This has given birth to concepts of placemaking and place design theories that want to
make our cities available at a human scale. Many cities in America that Lynch has researched and
explored in his work, have been at to a certain extent been successful in putting people first in their
humanistic based design of city planning. However, many cities around the world, including America
have become car-dependent and this is one of the major threats to humanistic and perceptive design
principles of city planning.

Lynch’s works influenced humanistic design planning and environmental psychology. However, he was a
planner who played an important role in American city design. Very few people had thought about the
psychological importance of our senses in understanding city design before Lynch, and this contributed
to the success and recognition of his work. 21st-century concepts of placemaking and place design are
highly based on Lynch’s work and even participatory and co-design principles in Urban Planning have the
basis in Lynch’s work. GIS and creative map-making were also tools that were developed after Lynch’s
concepts of mental maps, design and how people perceive their environment. It is important to
understand the ways in which people perceive their environments to gain a deeper understanding of
constructing cities that impact humans navigate their cities on a daily basis.

CONCEPT OF Elizabeth Plater-Zyberk

Elizabeth Plater-Zyberk is an American architect and urban planner based in Miami, Florida. She is
considered to be a representative of the New Urbanism school of urban planning, and an advocate of
the New Classical school of architecture.

Architect and urban planner Elizabeth Plater-Zyberk is one half of a two-person revolution in American
town planning. With her husband, Andres Duany, Plater-Zyberk has pioneered the "New Urbanism"
movement, which urges local officials, regional planners, and architects to jettison the cookie-cutter
suburb, the exclusive gated community, and the McMansion in favor of more pedestrian-friendly,
community-oriented residential spaces. Plater-Zyberk and Duany are best known as the designers of
Seaside, the Florida town used as the fictional setting in the 1999 film The Truman Show, but it was
merely one of more than 200 immensely successful communities their firm had helped create, each with
their own design vernacular. "The fence, the walkway, the screen porch," she listed in an interview with
Smithsonian writer Phil Patton, "create an elaboration of ceremony. You have a choice of realms ranging
in increments from the public to the most private."
Born in 1950 in Bryn Mawr, Pennsylvania, Plater-Zyberk grew up in nearby Paoli. Her parents were
immigrants from Poland, where her father had been an architect; her mother a landscape architect. At
Princeton University in the late 1960s, where Plater-Zyberk studied architecture, she met Andres Duany,
who is of Cuban heritage, and the pair met once again when both were enrolled at the Yale Graduate
School of Architecture by 1972. They wed in 1976, not long after finishing the prestigious graduate
program, and soon took dual teaching posts at the University of Miami in Florida.

Plater-Zyberk and Duany were affiliated with the prominent Miami architectural firm Arquitectonica,
known for its fresh new designs that drew upon Miami's Art Deco past, but were becoming increasingly
intrigued by larger urban-planning issues. A developer named Robert Davis approached them about
designing a new town he was hoping to create from a parcel of land he had inherited in the Florida
Panhandle. Plater-Zyberk and her husband put together a plan that encouraged more of a sense of
community and contact, rather than elevating the ideals of individualism and isolation. All houses, for
example, were located within walking distance of commercial area. Newer building materials, such as
vinyl windows and aluminum siding, were prohibited. Houses were required to have a front porch, and
the property a picket fence—though homeowners had to come up with their own design for the fence.

Construction began in 1982 for what would become the town of Seaside, Florida, and though it was
considered somewhat experimental at the time, real-estate prices continued to rise steadily for its
parcels over the next decade. It became a phenomenon and even a tourist destination, and in 1999
Hollywood arrived to use its pastel, picture-perfect streets as the setting for The Truman Show, which
starred Jim Carrey as a man who learns that his entire life is a fictional television show.

Seaside became the most well-known of the projects done by Plater-Zyberk and Duany's eponymous
firm, founded in Miami in 1980, but it spawned a number of new projects across the United States.
These included Charleston Place in Boca Raton, Florida; Kentlands, Maryland; Blount Springs, Alabama;
and Middleton Hills in Middleton, Wisconsin. As she explained in an interview with Index magazine's
Peter Halley, many of the new communities are located in the southern United States, because "in the
North, government is usually organized by township. In the newer Sunbelt states, it's organized by
county. Townships are characteristically small and inexpert, and they don't have enough money to spend
on things. The officials are almost always volunteers. The county structure is usually far more
professional and forward-looking."

Plater-Zyberk does not design houses; instead other professionals adhere to her firm's residential
architecture guidelines, which usually specify an updated version of older American styles, like Victorian.
The communities she plans often feature such attributes as narrower streets, which slows driving
speeds, and a commercial center within 1,300 feet, which studies had shown was the maximum distance
that an average person will walk to a store rather than drive.

Plater-Zyberk and Duany were hailed as visionaries in the mainstream media early on, with a 1990
People magazine profile asserting that "in the '90s, when their plans come to fruition, they will be
recognized as the most influential American town planners in decades—or ever." In 1993, Plater-Zyberk
took part in a conference with other architects, urban planners, and similar cohorts, out of which arose
the Congress for the New Urbanism (CNU). The group set forth the principles of the movement, and
advocated "mixed-use" development over the "singleuse" zoning rules that most American suburbs had
deployed since the 1950s. This meant that areas could have both residential and commercial districts,
enabling those who lived there easy access to stores and possibly even their workplace, in contrast to
the current standard, which was biased toward cars and drivers.

Many of these principles were laid out in Plater-Zyberk's 2000 book, written with Duany and Jeff Speck,
Suburban Nation: The Rise of Sprawl and the Decline of the American Dream. She has been a vocal
opponent of the gated community concept, which restricts access to residents only. "There are lots of
reasons why they shouldn't exist," she told Halley in the Index interview. "There's the idea of exclusion.
And there are traffic reasons. The gate dictates that you're only going to come and go by car. Gated
communities always let out onto the big roads, so there are no smaller interconnections."

Since 1995 Plater-Zyberk has served as dean at the University of Miami School of Architecture, to which
a new generation of future architects interested in the New Urbanism movement have flocked. She
founded the school's master of architecture program in Suburb and Town Design, and serves as director
for the Center for Urban and Community Design. In 2001 she and Duany were co-recipients of the
Vincent J. Scully Prize from the National Building Museum, named after their onetime Yale professor
upon whose ideas the New Urbanism movement was built. She predicted that movement toward more
pedestrian-friendly communities "will intensify," she told South Florida Business Journal 's Darcie
Lunsford. "One big thing that bothers people is traffic congestion. Until we start reorganizing the bigger
picture so that we don't have to do so much driving, the conditions we complain about in our cities and
suburbs are only going to get worse.

CONCEPT OF James Wilson Rouse

James Wilson Rouse, founder of The Rouse Company, was a pioneering American real estate developer,
urban planner, civic activist, and later, free enterprise-based philanthropist. He received the US
Presidential Medal of Freedom, the highest civilian award, for his lifetime achievements.

In 1958, Rouse built Harundale Mall in Glen Burnie, Maryland, the first enclosed shopping center east of
the Mississippi River and the first built by a real estate developer. His company used the term "mall" to
describe the development, which was an alternative to the more typical strip malls usually built in the
suburbs (the "mall" in "strip mall" came into usage later, after the enclosed mall had been popularized by
Rouse's company). Although many now attribute the rise of the shopping mall to the decline of the
American downtown core, Rouse's focus at the time was on the introduction of malls as a form of town
center for the suburbs.

His company became an active developer and manager of shopping center and mall properties, even as
he shifted focus to new projects which eventually included planned communities and festival
marketplaces.

CONCEPT OF Agustín Landa Verdugo

Agustín Landa Verdugo (1923 – 3 October 2009) was a Mexican architect and urban planner , born in
Mexico City . He studied architecture in the National University of Mexico (now UNAM ). In 1945 he
established a firm with his brother Enrique, with whom he designed hundreds of public and private
buildings during four decades of partnership. The firm's work distinguished itself by its modern language
and the efficiency and economy of the solutions it proposed.

The work of Landa Verdugo's firm was influential in many areas of architecture in Mexico, including the
design of hospitals and social housing, where its pioneering designs became standards for younger
architects.

As an urban planner, Agustin Landa Verdugo was the author of the master plan of a number of new cities
and neighborhoods in Mexico, most notably the city of Cancún , which was built in the early 1970s in an
uninhabited island in the state of Quintana Roo .

He established a firm with his brother Enrique, with whom he designed hundreds of public and private
buildings during four decades of partnership including hospital. The firm's work distinguished itself by its
modern language and the efficiency and economy of the solutions it proposed. The work of Landa
Verdugo's firm was influential in many areas of architecture in Mexico, including the design of hospitals
and social housing, where its pioneering designs became standards for younger architects.

CONCEPT OF Wardley's

Wardley's vision was very much of his age: he planned a new city 'with provision for a continuous self-
regulating flow of traffic', [2] and the buildings that were erected were determinedly modern. The local
sandstone was rejected as a building material. Many much-loved buildings were demolished to make
way for the 'city of the future', and there was eventually considerable opposition. J. B. Priestley and
David Hockney were among those who protested in vain against the demolition of the Swan Arcade in
1968.

In 2005 one of the icons of Wardley's redevelopment, Forster House, was demolished as part of the
'Broadway development' (see Forster Square, Bradford ). Other recent changes have seen reversals of
1960s planning in Bradford, e.g. filling in of pedestrian under-passes and promotion of traffic-calming
measures, and attempts to promote residential use of the city centre, as opposed to 1960s zoning.

CONCEPT OF Charles Follen McKim

Charles Follen McKim was influenced by his study at Ecole des Beaux Arts in Paris. Along with his
partners Stanford White and William R. Mead, McKim applied French

Beaux Arts ideas to grand American buildings like the Boston Public Library and Pennsylvania Station in
New York City. These historic styles were not associated with the new architecture of the day—the
skyscraper—so the firm did not tackle skyscrapers. However, after McKim's death, the firm built the 40-
floor Municipal Building (1914) in Lower Manhattan.

McKim was drawn to the clean lines of American Colonial architecture, and he admired the simple
architecture of Japan and rural France. The architectural firm McKim, Mead, & White became known for
informal, open plan Shingle Style houses designed shortly after the partnership was formed. They could
also transition into designing the more opulent styles prevalent in Newport, Rhode Island. McKim and
White became the design architects of the firm, while Mead administered much of the firm's business.