Empire City

The Making and Meaning of the New York City Landscape

David M. Scobey
Book Cover

PB: $45.95
EAN: 978-1-59213-235-5
Publication: Sep 03

352 pages
7 x 10
2 tables 8 maps 73 halftones

How did New York City come to represent the best and worst of urban life?

Description

For generations, New Yorkers have joked about "The City's" interminable tearing down and building up. The city that the whole world watches seems to be endlessly remaking itself. When the locals and the rest of the world say "New York," they mean Manhattan, a crowded island of commercial districts and residential neighborhoods, skyscrapers and tenements, fabulously rich and abjectly poor cheek by jowl. Of course, it was not always so; New York's metamorphosis from compact port to modern metropolis occurred during the mid-nineteenth century. Empire City tells the story of the dreams that inspired the changes in the landscape and the problems that eluded solution.

Author David Scobey paints a remarkable panorama of New York's uneven development, a city-building process careening between obsessive calculation and speculative excess. Envisioning a new kind of national civilization, "bourgeois urbanists" attempted to make New York the nation's pre-eminent city. Ultimately, they created a mosaic of grand improvements, dynamic change, and environmental disorder. Empire City sets the stories of the city's most celebrated landmarks—Central Park, the Brooklyn Bridge, the downtown commercial center—within the context of this new ideal of landscape design and a politics of planned city building. Perhaps such an ambitious project for guiding growth, overcoming spatial problems, and uplifting the public was bound to fail; still, it grips the imagination.

Table of Contents

Acknowledgments

Introduction: Can a City Be Planned? Bryant's Questions City Building Urbanism City and Nation

1. Metropolis and Nation Saint Olmsted and Frederick the Great Allegories of the National Cityscape The American Metropolis The Class World of Bourgeois Urbanism The Meanings of Empire Olmsted's Return

2. The Midcentury Boom The American Museum Overview of a Boom Terminals and Tenements The Eternal Building Up and Pulling Down May Day

3. The Rule of Real Estate Myth of Origins The Landscape of Accumulation The Discipline of Land Values The March of Improvement The Logic of the Grid Dreamland

4. The Frictions of Space Uneven Development Arterial Sclerosis Modernization and Its Discontents Boundaries and Boundarilessness The New Urbanism

5. Imagining the Imperial Metropolis Imagined Prospects The Bridge Between Capital and Culture Eros and Civilization Second Empire Disciplining the Streets Urbane Domesticity Melodrama

6. The Politics of City Building The Emperor of New York Best Men, Businessmen, and Boosters City Building and State Building City Blocs The Politics of Stewardship The Modern Prince

7. Uptownutopia Overruling the Grid Inside Out: The Paradoxes of Central Park An Urbanism of the Periphery Cheap Trains and Cottage Suburbs The Uptown Prospect

8. The Failure of Bourgeois Urbanism The Meanings of Reconstmction The Legacies of Bourgeois Urbanism The End of the Boom and the Politics of Retrenchment The Battle for the Annexed District The March of Improvement, 1890

Appendix: Statistical Tables Notes Index

About the Author(s)

David M. Scobey is Associate Professor of Architecture and Director of the Arts of Citizenship Program at the University of Michigan.


Subjects

In the Series

  • Critical Perspectives on the Past edited by Susan Porter Benson, Stephen Brier, and Roy Rosenzweig

    Critical Perspectives on the Past, edited by Susan Porter Benson, Stephen Brier, and Roy Rosenzweig, is concerned with the traditional and nontraditional ways in which historical ideas are formed. In its attentiveness to issues of race, class, and gender and to the role of human agency in shaping events, the series is as critical of traditional historical method as content. Emphasizing that history is itself an interpretation of material events, the series demonstrates that the historian's choices of subject, narrative technique, and documentation are politically as well as intellectually constructed.