I was impressed by the vitality of live music in this city. In the evenings, nearly every bar had music. Not surprisingly, jazz and blues predominated, but other genres could be heard as well. And practically everyone I heard was good. Here are some photos, mostly from Faubourg Marigny, but also from outside the French Market and inside the Hotel Monteleone in the Vieux Carré. I probably spent the longest time at Bamboula’s. That’s not saying much — three complete sets (and a couple of Sazeracs, the high price of entry).
Here’s a sample of the Midnight Ramblers at Bamboula’s — skip to about 1:11 for the classic “Bill Bailey, Won’t You Please Come Home?“
Blue Nile and Apple Barrel had some enchanting sounds spilling out onto the sidewalk, as well — which led me into each venue briefly.
Midnight Ramblers at Bamboula’s.
A later set, great music, didn’t catch their name.
Here’s an extended sample from the Hotel Monteleone’s Carousel Bar (with a bit of the carousel, below):
I spent part of last week in New Orleans — my first time in that city. The photos included in this post are mostly of architecture and a few street scenes around the Vieux Carré. I’ll post other batches, including of jazz clubs, houses in the Garden District, and the enchanting light that came over the streets during an impending and fierce storm (including a visit to the again-going Old Absinthe House) in a later post.
A group of young women, dressed as angels (with iridescent haloes), congregate in front of the St. Louis Cathedral to prepare for a Joan of Arc-Twelfth Night parade that also marks the start of the Mardi Gras season.Photo: Theo Mackey Pollack.
I hope to spend time in New Orleans, again. It is a fascinating city to explore, and to try to process, on so many levels: its architecture and urbanism, its layered social and cultural history, the surprising way in which its high culture, cheap alcohol, traditional Catholicism, hedonism, classicism, neon, jazz, old money, abject poverty, and all else seem to (mostly) gracefully coexist. It reminds me of no other place in America, yet it could not exist in any other country.
The streets of New Orleans (at least, those in the Vieux Carré) are reminiscent of a Mediterranean city, maybe one in Spain, with low rooflines and floral balconies and breezy palms, and everything organized on a grid around a central plaza (anchored, of course, by a fine old church). Other aspects seem not-quite-American: many people dress more carefully in New Orleans than most Americans do elsewhere (except, perhaps, Boston). Streetcars still operate. Alcohol is everywhere in public. As is live music. And, in stark contrast to the genericism that has now conquered much of the United States, the local culture here struck me as the most vital I’d encountered in the States. That is, people participate in it. (Following the image above, an entire parade, including floats and more costumery, sponsored by a local krewe, would arrive.) Yet, for all its distinctions, it is a distinctly American city, combining influences that have only ever converged in this corner of the Deep South.
There were moments when I felt like I had opened a time capsule and entered a world where the twentieth century hadn’t quite arrived. Instead, this potent preserve of Victoriana and Vaudeville was floating obliviously on the sea of 21st century America. I’m sure such an impression is engineered by the tourism bureau; and pressing beyond the confines of historic neighborhoods would yield plenty of evidence to the contrary. But with such a concentration of historic spaces, inside and out, and so many people still participating in centuries-old traditions, any line between fantasy and living memory, like other contrasts in this strangely familiar city, can seem ephemeral.
Our group made a quick trip to London last summer (2022) to meet with a collaborating team that’s based there. I stayed a few extra nights because I wanted to explore the city a little bit. Fortuitously, my visit coincided with an infamous heat wave in which temperatures hovered around 100° F: not the most pleasant walking-around weather. But I determined to make the best of my brief visit, and to take some photos that captured the city’s beauty, history, and spirit — and of course its urban form.
I stayed near Victoria Station. Many of these photos are from three walks originating from the hotel and reaching into Lambeth, Westminster, St. James Park, Hyde Park, and Belgravia. The fourth and longest (after the heatwave had broken) began in Whitechapel. Heading into the City, I went down to the embankment near the Tower and followed the Thames up to around the Monument and St. Mary Woolnoth. From there, I roughly followed the Roman Wall to the Barbican, then headed back down toward St. Paul’s. (By then, I was exhausted enough to hail a taxi back to the hotel).
A few small takeaways about London’s urban personality:
The Thames is London’s Grand Canal: functional, focal, and eternal. The urban fabric builds out from its banks.
The meandering streets, like so much that is English, evoke the benevolent chaos of plants: their roots and branches are of a piece with England’s common law, language, and gardens. For all its modernity, England is a deeply agrarian place.
In July, there are lilacs everywhere: little shocks of purple against stone walls. The whole city has a floral and smoky scent, a mix of lilacs, gardens, European perfume — and city smoke.
An LT reader and fellow urban writer based in the DC area, Bryce Tolpen, has launched a new Substack called Political Devotions. One of his first podcasts, “Stories & objects”, explores a global community that has coalesced around Columbia Pike in Arlington, Virginia; and how an arts space in a strip mall, StudioPause, came to serve as a neighborhood focal-point in the post-2020 American anomie that may never quite end. Such an interesting piece — check it out, along with the rest of Bryce’s writing and podcasts. He is a great storyteller, and writes with a perspective that incorporates a thoughtful and eclectic range of influences.
I’ve always liked New York’s Chinatown, and its unique, bilingual riff on standard street-naming has highlighted the special qualities of this neighborhood for as long as I can remember — distinguishing its corners from those in the surrounding blocks of the Lower East Side and the so-called Civic Center (that cluster of neoclassical courthouses and public buildings centered on Foley Square). So this article at the Times gave me a pang of sadness — zeroing in, as it does, on a small but meaningful detail that I’d also noticed, showing how cities can change slowly, then all at once.
Several years ago, I had the good fortune to work in the Municipal Building, on Centre Street, for some time. Being there daily afforded me frequent opportunities to cover the blocks of Chinatown on foot (as well as the various subparts of the Lower East Side and SoHo), block by block, during lunch hours. I noticed then that the center of gravity was moving eastward, with a commercial nexus increasingly focused on East Broadway, far from the old core along Canal, Mott, and Mulberry Streets.
I also noticed that the new street-name signs were rarely subtitled, like the older ones had been:
Bilingual street signs in New York’s Chinatown, circa 2017. Photo: Theo Mackey Pollack
The Times essay, linked above, covers the history of these signs in the context of the history of the neighborhood. I do hope their decline is not a harbinger of rapid change. There have been rumors that Chinatown could soon be made a target for more intense gentrification; and some has already begun. But because it has not gone full-scale (yet), Chinatown is one of the few places in Lower Manhattan that retains some of the character of an older New York City — a messy, discordant, multilayered urban universe (photos by your webmaster) whose spirit has largely been tamed and curated into submission, elsewhere in the tangle of narrow downtown blocks that once teemed with so much human variety.
That is to say, Chinatown is still New York City, as it was meant to be. And I, for one, hope it will stay that way for a while longer.
Heid’s exploration shows how building small urban projects remains possible, and can still yield excellent results; but he also illustrates how the bureaucratic, regulatory, and financial parameters of present-day development culture have taken a timeless, iterative, and once-efficient process, and transformed it into something that is often much more difficult and expensive than the proponents of healthy growth should want it to be. This fits, unfortunately, with much of what we have covered at LegalTowns over the years.
On a practical note, Building Small offers readers a wealth of topical templates (hence, the ‘toolkit’ title), covering development tasks that range from structuring a special-purpose entity, to stacking funding from diverse sources, to working with attorneys (and identifying the qualities of good ones). Heid’s book is recommended, especially for planners and lawyers who value the development of coherent townscapes, and whose contributions to code development would be enriched by a clearer understanding of the small builder’s perspective. Small projects make great towns and cities.
Victorian brownstones on Carroll Street in Brooklyn. Most neighborhoods were traditionally developed lot by lot. This practice continued in American cities through the industrial era. While several adjoining lots were often built in tandem, the inherent potential for diversity on a single block, tempered by consistent spatial dimensions, due to building-lot sizes, fostered a balance between a spontaneous richness and an overarching order. This deepened over time, as individual owners modified their structures, or combined lots to create larger buildings with dimensions that were often neat multiples of the most prevalent, smaller houses. This quality of ordered irregularity is typical of older, traditional urban settings, like Park Slope, seen here; it is often absent from master-planned, strictly-zoned communities.
I thoroughly enjoyed this pair of online classes from the ICAA. The planner Rodrigo Bollat Montenegro takes us on a grand tour of the urbanism of Greenwich Village, in which he touches on everything from Leon Krier’s elements of good traditional cities to the still-visible remnants of colonial property lines and century-old street extensions. 3.25 credits toward your ICAA Certificate in Classical Architecture if you complete the quiz at the end.
Part of the urban fabric of the West Village, as it stood in 1895, from a Sanborn map of Manhattan. Red is brick; yellow is wood frame; green is a special hazard (with brick or frame construction signified by dots or X’s, respectively). Evidently, the lot that now contains one of the city’s great jazz clubs, 55 Bar, was already numbered 55 Christopher Street in 1895. Next door, the building that would become the landmark Stonewall Inn, stood at 53-51. Source: New York Public Library.
The historic center of Tunis, as it appeared circa 1890. Source: Wikimedia Commons.
In the spring, I mentioned the work of Besim Hakim in an article at TAC about the traditional urbanism of the Mediterranean. Since then, I’ve had the good fortune to speak with Hakim (an incredibly kind and knowledgeable man); and also to read an earlier book of his, Arabic-Islamic Cities, in which he laid out his findings about traditional urban planning rules from the Islamic world. Here’s an excerpt from a review that I offered:
Excellent research and analysis. The author provides an in-depth study of the traditional rules and urban forms that shaped urban growth in the Islamic west (i.e., the Maghreb and Andalucía). Much of what he uncovers and writes about (including treatises by medieval jurists and observations of repeating patterns) adds significant depth to the conventional present-day, Western understanding of urban genesis.
The author’s primary case study is the old city of Tunis, which sits near the Mediterranean coast, close to the site of ancient Carthage. For more than a thousand years, Tunis grew according to a bundle of simple and flexible traditions. The author’s maps and diagrams illuminate these visually — and an accompanying narrative provides context and explanation. Topics range from the small (e.g., party walls, windows, houses, and cul-de-sacs) to the large (e.g., marketplaces, religious sites, defensive walls, and citywide patterns).
Many unique elements of Islamic and Mediterranean urbanism (e.g., covered markets, privacy measures shaped by religious traditions, and arcades over public streets) are treated carefully. Citations to the Quran and Hadith illuminate the cultural aspects of the Islamic components (or justifications) of the urban form. (A later book by the same author, Mediterranean Urbanism, traces a variety of similar urban phenomena from ancient times down through the Byzantine Empire to the building practices of Christian Europe.)
This is a valuable piece of scholarship that is focused on the traditional, sustainable building patterns of vernacular urbanism. Urban planners, lawyers, builders, and architects should read this (as well as Hakim’s Mediterranean Urbanism) for a deeper understanding of how towns and cities were traditionally formed. Highly recommended for anyone with an interest in urbanism, history, property law, or the dynamic between customs and the built environment.
I’m gradually making progress on an essay that I think will be of interest to general readers, that will examine some of this history, including what Hakim has uncovered. In the meantime, I highly recommend Hakim’s work to readers with an interest in the nuts and bolts of more traditional approaches to urban growth. His writing is incredibly interesting, well researched and documented, and relevant to the challenges towns and cities face today.
This 2019 law review article by Brian L. Frye, “The Ballad of Harry James Tompkins,” is more than an excellent piece of legal history scholarship. It is also a riveting tale of ambitious lawyers, the dangers of freight trains, hoboes during the Great Depression, life in Pennsylvania’s coal country, and a how a host of terrible American class attitudes crossed paths in the aftermath of one poor man’s grievous injuries.
To be honest, I couldn’t stop reading. A taste:
At about 2:30 a.m. on Friday, July 27, 1934, William Colwell of Hughestown, Pennsylvania was awakened by two young men banging on his front door. When he went downstairs, they told him that someone had been run over by a train. Colwell looked out his side window. In the moonlight, he saw someone lying on the ground near the railroad tracks. He went back upstairs and told his wife that there had been an accident. She told him “not to go out, that them fellows was crazy,” but he dressed and went out to help anyway.
Colwell’s house was at the stub-end of Hughes Street, where it ran into the railroad tracks. When he reached the tracks, he discovered his neighbor Harry James Tompkins, about 6 or 10 feet south of Hughes Street. Tompkins had a deep gash on his right temple, and his severed right arm was in between the tracks. Colwell told the young men to go to Mrs. Rentford’s house down the street and call an ambulance. After calling the ambulance, they disappeared.
Elsewhere, Frye gives fascinating accounts of the legal theories, interests, and found-facts that helped shape the US Supreme Court’s landmark decision in the case that resulted, Erie Railroad Co. v. Tompkins (1938) (“There is no federal general common law.”), raising the strong possibility that there was a bit more to the story than what made it into Justice Brandeis’s written opinion.
My own small contribution to preserving the history of the Erie case: I added a marker to Google Maps near the abandoned railroad crossing where Mr. Tompkins was hurt in 1934.
