On Norman Bel Geddes, pioneer of miniatures and maker of the “most iconic World’s Fair exhibit of all time.”

Jane Jacobs has a somewhat ambiguous legacy—or at least one that’s contested by different factions in the present-day debate over cities and urbanism—but to me her most important idea is encapsulated in the title and spirit of this piece. It’s old and, I think, utterly prescient about what successive waves of planning fads miss. The purpose of urban space is for people to use it. A great place is a place where people want to be.

-M. Yglesias

Contemplating Gaudi’s unfinished masterpiece, the Sagrada Familia church, as the controversial finishing work is completed.

On Astana, the grandiose new capital that Kazakhstan built on the site of a remote Tsarist fort, and its striving young inhabitants.

On the French urban exploration group UX—”sort of like an artist’s collective, but far from being avant-garde—confronting audiences by pushing the boundaries of the new—its only audience is itself.”

On the then new phenomenon of dead downtowns:

It is not only for amenity but for economics that choice is so vital. Without a mixture on the streets, our downtowns would be superficially standardized, and functionally standardized as well. New construction is necessary, but it is not an unmixed blessing: its inexorable economy is fatal to hundreds of enterprises able to make out successfully in old buildings. Notice that when a new building goes up, the kind of ground-floor tenants it gets are usually the chain store and the chain restaurant. Lack of variety in age and overhead is an unavoidable defect in large new shopping centers and is one reason why even the most successful cannot incubate the unusual–a point overlooked by planners of downtown shopping-center projects.

Life inside the original Playboy Mansion.

Dreaming of the perfect apartment.

Should anyone ever choose to remake and bastardize Breakfast at Tiffany’s, I propose an opening sequence re-imagined to reflect more contemporary preoccupations. The revised opening scene should be filmed against the backdrop of an early evening in Brooklyn. The throngs of suits coming home from their nine to five grinds in Manhattan would be emerging from the subway stairwells like ants from an anthill, rushing off down various streets towards their various homes and families and dinners. All except for the would-be protagonist who, as the crowd rushes past her, makes her way to the closed-for-the-night real-estate storefront opposite the subway station. Somewhere, “Moon River” might still be playing, as if it had never stopped. Disheveled, lugging her purse and gym bag, she pauses for a number of minutes to read listings she has already read, and which she committed to memory weeks ago: a studio on Pineapple Street; a loft on Gold Street; a townhouse on Argyle Street; a two-bedroom coop on First Place; a one-bedroom condo on Carlton Avenue; a brownstone on Henry Street. It’s fall and the leaves blow in eddies on the sidewalk. She gets cold and turns away from the window to walk off down the street just as dusk begins to arrive in earnest. The occasional “For Sale” sign swings on its hinges, and the story of the day ends only to begin again in the morning.

How the mall was born.

When Chicago’s Stevens Hotel opened in 1927, it was the biggest hotel in the world. By the time it was closed, it had bankrupted and caused the suicide of a member of the Stevens’ family (which included a seven-year-old future Justice John Paul Stevens), and changed the city forever.

Peter Zumthor, who recently won the Pritzker Prize after a career of few buildings and mostly modest-in-size projects, on the “architecture of actually making things”

When (temporary) cities swell; a short history of the Burning Man festival.