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Mel Scott

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City planning is an ancient activity but a modern profession. The city planning profession in the United States arose from the urban reform movements of the 1890s and early years of this century. Here, in a volume commissioned to celebrate the fiftieth anniversary of the founding of the American Institute of Planners, the author examines the beginnings of urban planning and traces its gradual emergence as a guiding influence in all levels of government. The book is remarkably comprehensive and includes a wealth of detail gleaned from hundreds of original documents and extensive interviews with pioneers of the profession. Mr Scott describes the political movements, the persons and institutions, the civic crises, the legislative struggles, and the sometimes serious reverses that comprise the principal elements in the planning story; perhaps more importantly, he gives much attention to the intellectual history of planning.&lt;/div&gt;
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The late &lt;b&gt;Mel Scott &lt;/b&gt;was a planner, writer, lecturer and a research associate at the Institute of Governmental Studies, University of California, Berkeley.&lt;/div&gt;
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Melanie Walker, 
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By 2030 nearly 2 billion people will live in informal urban settlements or slums. Although living in abject poverty, slum communities are resilient and create new forms of urbanism. This panel will discuss current work in slums throughout the world, considering issues of empowerment and social equity, environmental sustainability, economic development and human health. These discussions will be both speculative and re&amp;#64258; ective, stimulating critical inquiry and interdisciplinary dialogue into how concerted efforts can transform informal communities to improve the health of those living within them and guide future development of cities worldwide.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Melanie Walker &lt;/b&gt;is a Senior Program Officer for Special Initiatives on the Global Development team at the Bill &amp;amp; Melinda Gates Foundation.&lt;/div&gt;
&lt;b&gt;Celine D'Cruz &lt;/b&gt;is a Coordinator for Slum Dwellers International and a founding member and Associate Director of the Society for the Promotion of Area Resource Centres.&lt;/div&gt;
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                <text>, histoire urbaine, art dans la ville, innovation, culture urbaine, géographie urbaine, développement urbain, mutation urbaine, twentieth century, vintième siècle, Bragg Melvyn, Hall Peter, Massey Doreen</text>
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&amp;nbsp;&lt;/div&gt;
Melvyn Bragg and guests discuss the artistic, cultural and innovative developments of the city in the 20th century and is joined by two practitioners of the geographer&amp;rsquo;s art; Professor Doreen Massey, who was awarded the Vautrin Lud International Geography prize - the geographer&amp;rsquo;s equivalent of the Nobel Prize, and Sir Peter Hall, whose books include The World Cities and Cities Tomorrow. They take a twentieth century perspective on the development of the city. How have cities changed since 1900, and what is their future? How has the 20th century been the century of the city?&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Melvyn Bragg&lt;/b&gt; is an author, broadcaster and media personality.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Sir Peter Hall&lt;/b&gt; is Professor of Planning at the Bartlett School of Architecture and Planning, University College, London, Fellow of the British Academy and a member of the Academia Europea.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Doreen Massey&lt;/b&gt; is Professor of Geography, Faculty of Social Sciences, Open University and recipient of the Vautrin Lud International Geography Prize and the Victoria Medal of the Royal Geographical Society.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Melvyn Bragg, 
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&lt;p&gt;Melvyn Bragg presents the first of a two-part discussion about the history of the city. With Peter Hall, Julia Merritt and Greg Woolf.&lt;/p&gt;
&lt;p&gt;The story of cities is widely held to begin in the 8th millennium BC in Mesopotamia. By 4000 BC, there were cities in the Indus Valley, by 3000 BC in Egypt, and by 2000 BC in China. What happened in the west was the furthest ripple of that phenomenon.&lt;/p&gt;
&lt;p&gt;In 1000 BC Athens still only had a population of one thousand. At its height, Athens' position as a powerful Mediterranean trading city allowed it to become the birthplace of much that would later characterise western cities, from politics through architecture to culture.&lt;/p&gt;
&lt;p&gt;Then, early in the first millenium AD, the world saw its first million-strong city: Rome. Maintaining a population of this size required stupendous feats of organisation and ingenuity. But in following centuries, as Rome declined and fell, the city itself, in the west at least, declined too; power emanated from kings and their mobile courts, rather than particular settlements.&lt;/p&gt;
&lt;p&gt;In China, urban trading posts continued to flourish, but their innovative energy dwindled before the end of the first millennium.&lt;/p&gt;
&lt;p&gt;Between 1150 and the onset of the Black Death in 1350, the city underwent a resurgence in Europe. City-states developed in Italy and in Germany.&lt;/p&gt;
&lt;p&gt;At this stage, there was no omnipotent power-centre to match Ancient Rome. But with the growth of sea and then ocean trade, and the centralisation of power in capitals ruling nation-states, cities like London, Paris, Madrid, Amsterdam and St Petersburg became increasingly wealthy, dynamic and ostentatious. By 1801, one of these - London - finally matched Ancient Rome's peak population of a million.&lt;/p&gt;
&lt;p&gt;Along the way, the city had become an ideal to be revered and a spectre to be feared.&lt;/p&gt;
&lt;p&gt;&lt;b&gt;Melvyn Bragg &lt;/b&gt;is an author, broadcaster and media personality.&lt;/p&gt;
&lt;p&gt;&lt;b&gt;Peter Hall&lt;/b&gt; is Professor of Planning and Regeneration at The Bartlett School of Planning, University College London.&lt;/p&gt;
&lt;p&gt;&lt;b&gt;Julia Merritt&lt;/b&gt; is Associate Professor of History at the University of Nottingham.&lt;/p&gt;
&lt;p&gt;&lt;b&gt;Greg Woolfis&lt;/b&gt; is Professor of Ancient History at the University of St Andrews.&lt;/p&gt;
&lt;/div&gt;
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&amp;nbsp;&lt;/div&gt;
Melvyn Bragg presents the second of a two part discussion about the history of the city.&lt;br /&gt;
&lt;br /&gt;
George Stephenson invented rail transport in the north-east of England in the 1820s, but it was not until over twenty years later that rail networks began to spring up to ferry workers in and out of the centre of British cities. When they did, this had a vast, transforming effect on the whole nature of cities - taking the pressure off dense, overcrowded central areas, but helping cities like London explode outwards.&lt;br /&gt;
&lt;br /&gt;
Victorian London was widely held at the time to be rather chaotic - especially in comparison with the grandiose, highly-orchestrated developments in continental European cities like Paris and Barcelona.&lt;br /&gt;
&lt;br /&gt;
The process of transformation was given another fillip by the introduction of the motor car. In this, the final part of a two-part special edition of 'In Our Time' exploring the development of cities, we're going to examine how Stephenson's invention transformed cities almost beyond recognition, and follow the story up to the present day.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Melvyn Bragg&lt;/b&gt; is an author, broadcaster and media personality.&lt;br /&gt;
&lt;br /&gt;
&lt;b&gt;Peter Hall&lt;/b&gt; is Professor of Planning and Regeneration at The Bartlett School of Planning, University College London.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Tristram Hunt&lt;/b&gt; is lecturer in History at Queen Mary College at the University of London.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Ricky Burdett&lt;/b&gt; is Professor of Urban Studies at the London School of Economics.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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La cit&amp;eacute; de l'architecture et du patrimoine

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Si de nombreux monuments t&amp;eacute;moignent de sa longue histoire, Le Caire est aujourd&amp;rsquo;hui une m&amp;eacute;tropole multipolaire de 19 M habitants, dont la majorit&amp;eacute; du b&amp;acirc;ti date du XIXe et du XXe si&amp;egrave;cle. Les auteurs, architectes et chercheurs au laboratoire InVisu, retracent la g&amp;eacute;n&amp;eacute;alogie des formes urbaines du Caire, des premi&amp;egrave;res installations (Memphis, H&amp;eacute;liopolis, Babylone d&amp;rsquo;&amp;Eacute;gypte) dans l&amp;rsquo;Antiquit&amp;eacute; aux extensions r&amp;eacute;centes, en passant par la ville arabo-islamique, les quartiers XIXe inspir&amp;eacute;s d&amp;rsquo;Haussmann et les villes nouvelles des ann&amp;eacute;es 1970, install&amp;eacute;es dans le d&amp;eacute;sert pour pr&amp;eacute;server les terres cultivables. Une guide de promenades architecturales compl&amp;egrave;te l&amp;rsquo;ouvrage.&lt;br /&gt;
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&lt;br /&gt;
&amp;bull; La mue d'une m&amp;eacute;gapole &amp;agrave; l'aube du XXI&amp;egrave;me si&amp;egrave;cle&lt;br /&gt;
&amp;bull; La cit&amp;eacute; historique&lt;br /&gt;
&amp;bull; L'av&amp;egrave;nement de la ville moderne, &amp;agrave; partir de 1860&lt;br /&gt;
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&amp;bull; D&amp;eacute;mesure m&amp;eacute;tropoliaine et requalifications (1970-2011)&lt;br /&gt;
&amp;bull; Promenades au Caire&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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&amp;quot;Ville m&amp;eacute;di&amp;eacute;vale par excellence et capitale de l&amp;rsquo;art arabe&amp;quot;... cette repr&amp;eacute;sentation du Caire a &amp;eacute;veill&amp;eacute; bien des curiosit&amp;eacute;s, en particulier fran&amp;ccedil;aises, mais aussi locales.&lt;br /&gt;
&lt;br /&gt;
Le pr&amp;eacute;sent ouvrage nous fait d&amp;eacute;couvrir cette passion &amp;agrave; travers des portraits d&amp;rsquo;amateurs et de figures cl&amp;eacute;s. Il explore les chemins vari&amp;eacute;s qui conduisirent artistes, architectes, dilettantes, vulgarisateurs et savants &amp;agrave; s&amp;rsquo;int&amp;eacute;resser aux monuments du Caire m&amp;eacute;di&amp;eacute;val &amp;agrave; partir des ann&amp;eacute;es 1860. Ces connaisseurs excentriques en firent conna&amp;icirc;tre les richesses et en montr&amp;egrave;rent la singularit&amp;eacute;. Ils en recueillirent les vestiges et firent revivre cette esth&amp;eacute;tique, en &amp;Eacute;gypte comme en France. L&amp;rsquo;auteur d&amp;eacute;crit les fortunes fluctuantes de ce go&amp;ucirc;t pour &amp;quot;l&amp;rsquo;art arabe&amp;quot; jusqu&amp;rsquo;aux ann&amp;eacute;es 1930, tout en interrogeant les m&amp;eacute;canismes artistiques et scientifiques, voire anthropologiques, qui lui donn&amp;egrave;rent chair et substance.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Mercedes Volait&lt;/b&gt; est chercheure au CNRS. Sp&amp;eacute;cialiste de l&amp;rsquo;architecture, de l&amp;rsquo;urbanisme et du patrimoine des XIXe et XXe si&amp;egrave;cles en &amp;Eacute;gypte, elle est la coordonnatrice du groupe de recherche international &amp;quot;Architectures modernes en M&amp;eacute;diterran&amp;eacute;e&amp;quot;&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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                <text>&lt;div&gt;Abdelwahab Meddeb re&amp;ccedil;oit Mercedes Volait, historienne de l'architecture et charg&amp;eacute;e de recherche au CNRS&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Pr&amp;eacute;sentation par le diffuseur :&lt;/b&gt;&lt;/div&gt;
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L&amp;rsquo;orientalisme appliqu&amp;eacute; &amp;agrave; l&amp;rsquo;architecture a &amp;eacute;t&amp;eacute; un mouvement important au XIXe si&amp;egrave;cle. Cela a produit un style international qui a engendr&amp;eacute; des &amp;oelig;uvres aussi bien en Orient qu&amp;rsquo;en Occident.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Le ph&amp;eacute;nom&amp;egrave;ne n&amp;rsquo;est pas seulement li&amp;eacute; &amp;agrave; l&amp;rsquo;entreprise coloniale. Il constituait aussi un r&amp;eacute;pondant au voyage en Orient des peintres et des &amp;eacute;crivains. Il avait &amp;agrave; voir avec la po&amp;eacute;tique et la sensibilit&amp;eacute; romantiques. C&amp;rsquo;est finalement un r&amp;eacute;sultat de la d&amp;eacute;couverte des arts de l&amp;rsquo;islam et particuli&amp;egrave;rement de son architecture m&amp;eacute;di&amp;eacute;vale. La volum&amp;eacute;trie et le primat de l&amp;rsquo;ornement dans le d&amp;eacute;cor ont provoqu&amp;eacute; la fascination d&amp;rsquo;une nouveaut&amp;eacute; qui se r&amp;eacute;percutera jusque dans l&amp;rsquo;enseignement de l&amp;rsquo;architecture et qui infl&amp;eacute;chira le choix des sujets pour les concours.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Les r&amp;eacute;alisations des pavillons des pays islamiques dans les expositions universelles (Paris, Chicago) ont contribu&amp;eacute; &amp;agrave; la diffusion de ce style n&amp;eacute;o-oriental dont la vari&amp;eacute;t&amp;eacute; r&amp;eacute;percutait une diversit&amp;eacute; originelle qui distingue entre le monumentalisme mamlouk du Caire, beylical de Tunis, ou hispano-mauresque de F&amp;egrave;s. Le go&amp;ucirc;t pour ce style a fait r&amp;ecirc;ver les architectes pour doter Paris d&amp;rsquo;une mosqu&amp;eacute;e. Le projet de la fin du XIXe si&amp;egrave;cle qui proposait une mosqu&amp;eacute;e n&amp;eacute;o-mamlouk au quai d&amp;rsquo;Orsay n&amp;rsquo;a pu voir le jour.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Il fallait attendre Lyautey et la gestion de la question musulmane dans le cadre de l&amp;rsquo;empire colonial pour que la mosqu&amp;eacute;e de Paris apparaisse en 1926 dans le style marocain qui nous &amp;eacute;loigne du mod&amp;egrave;le cairote non r&amp;eacute;alis&amp;eacute;, lequel signalait le persistant effet de l&amp;rsquo;exp&amp;eacute;dition d&amp;rsquo;Egypte de Bonaparte o&amp;ugrave; s&amp;rsquo;ensource l&amp;rsquo;&amp;eacute;gyptomanie fran&amp;ccedil;aise.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Picard

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&amp;nbsp;&lt;/div&gt;
Depuis la grande exp&amp;eacute;dition d'Egypte qui marqua les esprits, seuls des voyageurs aussi c&amp;eacute;l&amp;egrave;bres que Maxime Du Camp et Gustave Flaubert sont rest&amp;eacute;s dans les m&amp;eacute;moires, alors que d'autres sont compl&amp;egrave;tement oubli&amp;eacute;s ou connus des seuls sp&amp;eacute;cialistes. Pourtant leurs travaux restent des sources irrempla&amp;ccedil;ables sur une ville en grande partie disparue. En effet, tout au long du XIXe si&amp;egrave;cle, beaucoup de monuments p&amp;eacute;rirent faute d'entretien et &amp;agrave; partir des ann&amp;eacute;es 1870, le kh&amp;eacute;dive Isma&amp;iuml;l entreprit des travaux d'embellissement pour donner &amp;agrave; la capitale de l'Egypte un aspect europ&amp;eacute;en, au prix d'importantes d&amp;eacute;molitions.&lt;br /&gt;
&lt;br /&gt;
Tous ces voyageurs, architectes, peintres, &amp;quot;antiquaires&amp;quot;, furent subjugu&amp;eacute;s par l'architecture m&amp;eacute;di&amp;eacute;vale du Caire et par le d&amp;eacute;cor g&amp;eacute;om&amp;eacute;trique de ses b&amp;acirc;timents civils ou religieux. Ils tent&amp;egrave;rent &amp;agrave; travers leurs dessins, photographies et relev&amp;eacute;s de faire conna&amp;icirc;tre ces richesses artistiques que certains pr&amp;eacute;voyaient de publier dans des recueils, dont quelques-uns virent le jour. Ce livre a pour vocation de sortir de l'ombre ces passionn&amp;eacute;s qui offrent encore aujourd'hui des t&amp;eacute;moignages uniques assortis souvent de descriptions de dessins, de photographies ou d'&amp;eacute;crits th&amp;eacute;oriques en r&amp;egrave;gle g&amp;eacute;n&amp;eacute;rale peu accessibles.&lt;br /&gt;
&lt;br /&gt;
Un ensemble de sp&amp;eacute;cialistes met ici en valeur ces documents tomb&amp;eacute;s dans l'oubli et pr&amp;eacute;sente des synth&amp;egrave;ses de leurs oeuvres et de leurs apports &amp;agrave; la connaissance du Caire m&amp;eacute;di&amp;eacute;val.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Merlin Coverley</text>
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Moutons &amp;eacute;lectriques

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&amp;nbsp;&lt;/div&gt;
Depuis le fl&amp;acirc;neur des villes jusqu'&amp;agrave; l'explorateur de salon, de la d&amp;eacute;rive au d&amp;eacute;tournement, la psychog&amp;eacute;ographie nous procure de nouvelles mani&amp;egrave;res d'appr&amp;eacute;hender notre environnement, des m&amp;eacute;thodes pour transformer les rues famili&amp;egrave;res de notre exp&amp;eacute;rience quotidienne en quelque chose de nouveau et d'inattendu. Depuis Guy Debord et les situationnistes jusqu'&amp;agrave; Jacques R&amp;eacute;da, Iain Sinclair ou Will Self, en passant par Stevenson, Baudelaire, L&amp;eacute;on-Paul Fargue ou Jacques Yonnet, nombreux sont les adeptes de la psychog&amp;eacute;ographie qui ont couch&amp;eacute; par &amp;eacute;crit leurs errances et leurs explorations urbaines. Londres et Paris sont les territoires privil&amp;eacute;gi&amp;eacute;s de la psychog&amp;eacute;ographie, mais celle-ci peut se pratiquer tout aussi bien &amp;agrave; New York ou &amp;agrave; San Francisco, &amp;agrave; Lisbonne ou &amp;agrave; Bruxelles.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Cet ouvrage conduit le lecteur &amp;agrave; travers l&amp;rsquo;histoire et les processus de la psychog&amp;eacute;ographie, en offrant &amp;agrave; la fois une explication et une d&amp;eacute;finition des termes concern&amp;eacute;s, et une analyse des figures et &amp;oelig;uvres clefs de ce mouvement.&lt;br /&gt;
&lt;br /&gt;
&lt;b&gt;Merlin Coverley&lt;/b&gt; est un libraire et &amp;eacute;crivain anglais, auteur de plusieurs ouvrages sur les &amp;eacute;crits de Londres.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Mich&amp;egrave;le Dagenais</text>
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mars 2011

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Bor&amp;eacute;al

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                <text>&lt;div&gt;&lt;b&gt;Pr&amp;eacute;sentation par l'&amp;eacute;diteur :&lt;/b&gt;&lt;br /&gt;
&lt;br /&gt;
Montr&amp;eacute;al est n&amp;eacute; parce qu&amp;rsquo;il se trouvait au c&amp;oelig;ur d&amp;rsquo;un bassin hydrographique exceptionnel. Son destin est demeur&amp;eacute; &amp;eacute;troitement li&amp;eacute; au fleuve m&amp;ecirc;me si la ville a sembl&amp;eacute; s&amp;rsquo;en d&amp;eacute;tourner quand elle a pouss&amp;eacute; ses faubourgs vers l&amp;rsquo;int&amp;eacute;rieur de l&amp;rsquo;&amp;icirc;le. Les Montr&amp;eacute;alais ont toujours manifest&amp;eacute; la m&amp;ecirc;me fascination pour l&amp;rsquo;eau, que ce soit dans leur vie quotidienne ou dans leurs loisirs. Plus r&amp;eacute;cemment, cette fascination s&amp;rsquo;est doubl&amp;eacute;e d&amp;rsquo;une pr&amp;eacute;occupation pour l&amp;rsquo;eau pollu&amp;eacute;e par les activit&amp;eacute;s humaines et industrielles.&lt;br /&gt;
&lt;br /&gt;
L&amp;rsquo;historienne Mich&amp;egrave;le Dagenais aborde ici l&amp;rsquo;eau dans sa globalit&amp;eacute; et sous ses diverses formes, en examinant ensemble les cours d&amp;rsquo;eau qui ceinturent l&amp;rsquo;&amp;icirc;le et l&amp;rsquo;eau qui coule dans les r&amp;eacute;seaux souterrains. L&amp;rsquo;eau est appr&amp;eacute;hend&amp;eacute;e dans ses dimensions concr&amp;egrave;tes et tangibles, comme &amp;eacute;l&amp;eacute;ment physique qui se transforme avec le d&amp;eacute;veloppement de Montr&amp;eacute;al en m&amp;ecirc;me temps qu&amp;rsquo;il y contribue. L&amp;rsquo;eau est aussi examin&amp;eacute;e sur le plan socioculturel, comme une composante cruciale de la production et de la transformation de l&amp;rsquo;espace montr&amp;eacute;alais.&lt;br /&gt;
&lt;br /&gt;
L&amp;rsquo;auteur examine les principaux am&amp;eacute;nagements dont l&amp;rsquo;eau a fait l&amp;rsquo;objet au cours des deux cents derni&amp;egrave;res ann&amp;eacute;es. En somme, elle nous raconte l&amp;rsquo;histoire de Montr&amp;eacute;al dans ses rapports avec les &amp;eacute;l&amp;eacute;ments naturels, au premier rang desquels se trouve l&amp;rsquo;eau. &lt;br /&gt;
&lt;br /&gt;
&lt;b&gt;Mich&amp;egrave;le Dagenais&lt;/b&gt; est professeure titulaire au d&amp;eacute;partement d&amp;rsquo;histoire de l&amp;rsquo;Universit&amp;eacute; de Montr&amp;eacute;al.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Mich&amp;egrave;le Lambert-Bresson, 
Annie T&amp;eacute;rade, 
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Recherches

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&amp;nbsp;&lt;/div&gt;
Unifier le territoire &amp;ndash; administrativement, politiquement, &amp;eacute;conomiquement &amp;ndash;, faciliter la circulation des personnes et des marchandises : ces pr&amp;eacute;occupations ont durant tout le XIXe si&amp;egrave;cle projet&amp;eacute; au premier plan l&amp;rsquo;am&amp;eacute;lioration des r&amp;eacute;seaux de routes et de canaux, la cr&amp;eacute;ation de celui des chemins de fer. L&amp;rsquo;am&amp;eacute;nagement des villes, leur embellissement, leur extension n&amp;rsquo;en furent pas pour autant oubli&amp;eacute;s : au-del&amp;agrave; m&amp;ecirc;me de ses effets directs, la cr&amp;eacute;ation ou la modernisation d&amp;rsquo;un nouveau moyen de transport ou de d&amp;eacute;placement s&amp;rsquo;av&amp;eacute;ra le plus souvent l&amp;rsquo;occasion, pour les autorit&amp;eacute;s ou pour l&amp;rsquo;initiative priv&amp;eacute;e, agissant de concert ou s&amp;eacute;par&amp;eacute;ment, d&amp;rsquo;engager une intervention urbaine d&amp;rsquo;importance.&lt;/div&gt;
&lt;br /&gt;
Etait-ce l&amp;rsquo;infrastructure nouvelle qui devait s&amp;rsquo;adapter &amp;agrave; la ville et au territoire, ou &amp;eacute;tait-ce l&amp;rsquo;inverse ? Comment ce rapport &amp;ndash; et la fa&amp;ccedil;on de le concevoir &amp;ndash; ont-ils &amp;eacute;volu&amp;eacute; au fil des d&amp;eacute;cennies ? Du territoire &amp;agrave; la ville, du paysage &amp;agrave; l&amp;rsquo;architecture des b&amp;acirc;timents, &amp;agrave; quelles &amp;eacute;chelles peut-on lire l&amp;rsquo;impact des nouveaux r&amp;eacute;seaux ? Telles sont les questions qui sont ici pos&amp;eacute;es &amp;agrave; travers l&amp;rsquo;histoire de d&amp;eacute;bats urbains ou &amp;quot;techniques&amp;quot;, d&amp;rsquo;exemples de villes grandes, moyennes ou petites (Bourges, Colmar, Laval, N&amp;icirc;mes, Pontivy, Rennes...), de territoires aujourd&amp;rsquo;hui m&amp;eacute;tropolitains (Paris, Chicago...) ou demeur&amp;eacute;s ruraux...&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Sommaire :&lt;/b&gt;&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Mich&amp;egrave;le Lambert-Bresson, Annie T&amp;eacute;rade - Introduction&lt;/div&gt;
&lt;br /&gt;
Cassandre &amp;Eacute;veillard-Kervarrec - Pontivy-Napol&amp;eacute;onville, projet d&amp;rsquo;une ville nouvelle sous le Premier Empire&lt;/div&gt;
&lt;br /&gt;
Pierre Pinon - La place de la Concorde sous la Restauration. R&amp;eacute;am&amp;eacute;nagements et projets &amp;agrave; l&amp;rsquo;origine de l&amp;rsquo;intervention de J.&amp;#8209;I. Hittorff&lt;/div&gt;
&lt;br /&gt;
Karen Bowie - Chemins de fer &amp;quot;imparfaits&amp;quot; avant la loi de 1842 : th&amp;eacute;ories et projets de Michel Chevalier, Jean-Martial Bineau, L&amp;eacute;once Reynaud et Claude Arnoux&lt;/div&gt;
&lt;br /&gt;
Mich&amp;egrave;le Lambert-Bresson - De l&amp;rsquo;implantation du chemin de fer &amp;agrave; N&amp;icirc;mes &amp;agrave; la cr&amp;eacute;ation d&amp;rsquo;un nouveau quartier. Le dessin du quartier de l&amp;rsquo;embarcad&amp;egrave;re&lt;/div&gt;
&lt;br /&gt;
Anne Bondon - Chemin de fer et forme urbaine au XIXe si&amp;egrave;cle : les cas de Bourges, Colmar et Laval&lt;/div&gt;
&lt;br /&gt;
Christophe Le Bollan - Du d&amp;eacute;bat au consensus : le difficile choix de l&amp;rsquo;emplacement de la gare de Rennes&lt;/div&gt;
&lt;br /&gt;
Solenn Gu&amp;eacute;vel - La r&amp;eacute;novation du bassin de La Villette &amp;agrave; la fin du XIXe si&amp;egrave;cle. Modernisation du port, embellissement du paysage urbain&lt;/div&gt;
&lt;br /&gt;
Laure Ducos - Le boulevard Pereire &amp;agrave; Paris : strat&amp;eacute;gie urbanistique et ferroviaire&lt;/div&gt;
&lt;br /&gt;
Annie T&amp;eacute;rade - Un chemin de fer &amp;quot;d&amp;rsquo;int&amp;eacute;r&amp;ecirc;t g&amp;eacute;n&amp;eacute;ral&amp;quot; en Creuse : trac&amp;eacute;, effets et traces&lt;/div&gt;
&lt;br /&gt;
Jean Castex - Chicago, 1880-1930. La ville de superpositions et la couverture des voies ferr&amp;eacute;es&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Mich&amp;egrave;le Leloup et, 
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Archibooks

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En ce d&amp;eacute;but de xxie si&amp;egrave;cle, l&amp;rsquo;am&amp;eacute;nagement urbain est devenu un enjeu majeur de l&amp;rsquo;architecture contemporaine. La notion de territoire a explos&amp;eacute;, elle s&amp;rsquo;est &amp;eacute;tendue jusqu&amp;rsquo;&amp;agrave; devenir abstraite et la ville de Paris en est un reflet probant. Le 17 septembre 2008 est lanc&amp;eacute; par le Pr&amp;eacute;sident de la r&amp;eacute;publique le projet du &amp;quot;Grand Paris&amp;quot;. De cet engagement politique, naissait l&amp;rsquo;id&amp;eacute;e du renouveau urbain de Paris. L&amp;rsquo;enjeu est de taille : d&amp;eacute;finir quelle sera la m&amp;eacute;tropole durable du xxie si&amp;egrave;cle.&lt;br /&gt;
&lt;br /&gt;
Imaginer le visage de Paris dans les d&amp;eacute;cennies &amp;agrave; venir, est le d&amp;eacute;fi lanc&amp;eacute; aux &amp;eacute;quipes laur&amp;eacute;ates. Dix des plus grands noms de l&amp;rsquo;architecture vont se lancer dans l&amp;rsquo;aventure : les Fran&amp;ccedil;ais Roland Castro, Djamel Klouche, Yves Lion, Jean Nouvel, Christian De Portzamparc et Antoine Grumbach, l&amp;rsquo;Allemand Finn Geipel, le groupement n&amp;eacute;erlandais MVRDV, l&amp;rsquo;Italien Bernardo Secchi et le Britannique Richard Rogers.&lt;br /&gt;
&lt;br /&gt;
Les &amp;eacute;ditions Archibooks ont d&amp;eacute;cid&amp;eacute; de suivre ces dix architectes pour qu&amp;rsquo;ils livrent leur vision du &amp;quot;Grand Paris&amp;quot;. Au contact du comit&amp;eacute; scientifique et des architectes, l&amp;rsquo;ouvrage s&amp;rsquo;attachera &amp;agrave; expliquer clairement les choix des &amp;eacute;quipes, en leur donnant la parole. Il a pour ambition de pr&amp;eacute;senter de mani&amp;egrave;re approfondie et abondamment illustr&amp;eacute;e la diversit&amp;eacute; des r&amp;eacute;flexions engag&amp;eacute;es et les particularit&amp;eacute;s de chaque projet.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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D&amp;eacute;cembre 2011

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Presses universitaires de Louvain

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&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Pr&amp;eacute;sentation par l'&amp;eacute;diteur :&lt;/b&gt;&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
La th&amp;egrave;se part du constat des dysfonctionnements actuels, en particulier dans les m&amp;eacute;thodes d'am&amp;eacute;nagement du territoire en Suisse romande, mais aussi celles de l'urbanisme de la &amp;quot;ville ordinaire&amp;quot; en France, toutes deux centr&amp;eacute;es sur la planification. Les mutations profondes et rapides des territoires &amp;ndash; caract&amp;eacute;ris&amp;eacute;es par l'incertitude et la complexit&amp;eacute; &amp;ndash; ne sont plus g&amp;eacute;rables de mani&amp;egrave;re satisfaisante avec ces outils issus de la pens&amp;eacute;e moderne.&lt;/div&gt;
&lt;br /&gt;
L'urbanisme doit modifier la repr&amp;eacute;sentation qu'il se fait de la ville en consid&amp;eacute;rant autant ses dynamiques (d'&amp;eacute;volution, de flux, d&amp;rsquo;organisation) que sa mat&amp;eacute;rialit&amp;eacute; (sa morphologie). Il doit ensuite se repr&amp;eacute;senter lui-m&amp;ecirc;me comme le savoir et les m&amp;eacute;thodes permettant de concevoir et de conduire dans chaque cas particulier le &amp;quot;processus de production urbaine&amp;quot;, en tant que construit social d&amp;eacute;pendant de ses acteurs.&lt;/div&gt;
&lt;br /&gt;
Le r&amp;ocirc;le du public est alors celui d&amp;rsquo;un &amp;quot;fabricant d&amp;rsquo;organisation&amp;quot; qui tend &amp;agrave; favoriser dans la dur&amp;eacute;e les synergies entre les projets cr&amp;eacute;&amp;eacute;s et port&amp;eacute;s par lui et par d&amp;rsquo;autres. Et la r&amp;eacute;gulation du processus consiste &amp;agrave; cr&amp;eacute;er les conditions favorables &amp;agrave; son d&amp;eacute;roulement dans le temps, ainsi qu&amp;rsquo;au m&amp;ucirc;rissement du construit collectif qu&amp;rsquo;est le projet, en particulier dans sa composante spatiale. Ceci implique de concevoir en &amp;eacute;troite interaction le design du processus de production urbaine et le design de l&amp;rsquo;espace, et d&amp;rsquo;articuler &amp;ndash; en fonction du contexte &amp;ndash; le projet spatial comme vecteur puissant du processus de production, et l'organisation de cercles d&amp;rsquo;acteurs successifs, faisant office de sc&amp;egrave;nes (lieux et temporalit&amp;eacute;s) de synth&amp;egrave;se. L&amp;rsquo;assistance &amp;agrave; ma&amp;icirc;trise d&amp;rsquo;ouvrage comprise au sens large constitue l&amp;rsquo;un des r&amp;ocirc;les importants de ces pratiques urbanistiques, dans une tension entre implication et regard distanci&amp;eacute;.&lt;/div&gt;
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&amp;nbsp;&lt;/div&gt;
Avec ses extensions de lignes du m&amp;eacute;tro parisien, la cr&amp;eacute;ation de quatre tramways et les 200 kilom&amp;egrave;tres du Grand Paris Express,  la r&amp;eacute;gion &amp;Icirc;le-de-France va conna&amp;icirc;tre d&amp;rsquo;ici &amp;agrave; l&amp;rsquo;horizon 2020 un renforcement sans pr&amp;eacute;c&amp;eacute;dent de son maillage de transport public. Suffisant pour que tous ses habitants soient &amp;agrave; proximit&amp;eacute; d&amp;rsquo;une gare ou d&amp;rsquo;une station ? Non. Nous sommes all&amp;eacute;s &amp;agrave; la rencontre de ces Franciliens de Rueil, Drancy et Villiers-le-Bel qui continueront d&amp;rsquo;utiliser un autre mode de transport pour se d&amp;eacute;placer.&lt;br /&gt;
&lt;br /&gt;
&lt;a target="_blank" href="http://www.megalopolismag.com/les-oublies-du-grand-paris-ceux-qui-nous-aiment-prendront-le-bus/"&gt;Les oubli&amp;eacute;s du Grand Paris : ceux qui nous aiment prendront le bus&lt;/a&gt;&lt;br /&gt;
Par Micha&amp;euml;l Bastien (3 mai 2012)&lt;/div&gt;
&lt;br /&gt;
&lt;a target="_blank" href="http://www.megalopolismag.com/les-oublies-du-grand-paris-villiers-le-bel/"&gt;Les oubli&amp;eacute;s du Grand Paris : Villiers-le-Bel&lt;/a&gt;&lt;/div&gt;
Par Micha&amp;euml;l Bastien (3 mai 2012)&lt;br /&gt;
&lt;br /&gt;
&lt;a target="_blank" href="http://www.megalopolismag.com/les-oublies-du-grand-paris-les-quartiers-sud-de-rueil-malmaison/"&gt;Les oubli&amp;eacute;s du Grand Paris : les quartiers sud de Rueil-Malmaison&lt;/a&gt;&lt;/div&gt;
Par Marina Bellot (9 mai 2012)&lt;br /&gt;
&lt;br /&gt;
&lt;a target="_blank" href="http://www.megalopolismag.com/les-oublies-du-grand-paris-les-quartiers-sensibles-du-centre-de-drancy/"&gt;Les oubli&amp;eacute;s du Grand Paris : les quartiers sensibles du centre de Drancy&lt;/a&gt;&lt;/div&gt;
Par Micha&amp;euml;l Bastien (22 mai 2012)&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Micha&amp;euml;l Darin</text>
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&amp;nbsp;&lt;/div&gt;
Ce livre est destin&amp;eacute; aux fl&amp;acirc;neurs. Son ambition est de faire entrer dans leur champ de vision les traces laiss&amp;eacute;es, dans notre paysage urbain, par la &amp;quot;com&amp;eacute;die urbaine&amp;quot; : l&amp;rsquo;encha&amp;icirc;nement des traces laiss&amp;eacute;es par d&amp;rsquo;innombrables acteurs venus de toutes les sph&amp;egrave;res sociales, encha&amp;icirc;nement qui cr&amp;eacute;e nos rues et nos places, ces &amp;oelig;uvres collectives. Ces assemblages, v&amp;eacute;ritables tours de Babel, r&amp;eacute;sultent d&amp;rsquo;&amp;eacute;quilibres entre les moyens, int&amp;eacute;r&amp;ecirc;ts, repr&amp;eacute;sentations et id&amp;eacute;es de groupes sociaux qui ne partagent pas la m&amp;ecirc;me &amp;quot;langue constructive&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
La com&amp;eacute;die urbaine insiste sur la complexit&amp;eacute; de l&amp;rsquo;entreprise collective nomm&amp;eacute;e ville, en attirant l&amp;rsquo;attention sur les d&amp;eacute;tails bizarres qu&amp;rsquo;on peut voir dans l&amp;rsquo;espace urbain, &amp;agrave; Paris et dans bien d&amp;rsquo;autres villes fran&amp;ccedil;aises. Ces anomalies ne sont pas des &amp;eacute;checs. Elles le seraient si la pertinence d&amp;rsquo;une forme urbaine &amp;eacute;tait jug&amp;eacute;e &amp;agrave; l&amp;rsquo;aune de ses concepteurs. La ville r&amp;eacute;elle n&amp;rsquo;est pas l&amp;rsquo;ombre d&amp;rsquo;une ville id&amp;eacute;ale. Les livres qui lui sont consacr&amp;eacute;s sont souvent hant&amp;eacute;s par le spectre de la cit&amp;eacute; id&amp;eacute;ale. Mais la ville est le ph&amp;eacute;nom&amp;egrave;ne imparfait par excellence. En mouvement perp&amp;eacute;tuel, per&amp;ccedil;ue &amp;agrave; partir de points de vue changeants, elle d&amp;eacute;fie tout jugement.&lt;br /&gt;
&lt;br /&gt;
Ce livre propose de voir et appr&amp;eacute;cier autrement les villes, de les regarder comme des &amp;oelig;uvres collectives &amp;agrave; l&amp;rsquo;&amp;eacute;volution desquelles contribuent des concepteurs, certes, mais &amp;eacute;galement une multitude d&amp;rsquo;autres acteurs. Comme le langage, la ville se transforme sans cesse et surprend toujours.Est-ce si grave ? Pas pour le promeneur qui, en chaque lieu ou presque, comme le libertin de Kundera, est mu par &amp;quot;le d&amp;eacute;sir de s&amp;rsquo;emparer de l&amp;rsquo;infinie diversit&amp;eacute; du monde&amp;quot;. Surtout s&amp;rsquo;il ne projette pas sur les villes un id&amp;eacute;al subjectif. Bien s&amp;ucirc;r, personne ne vit dans un &amp;eacute;tat permanent de bien-&amp;ecirc;tre absolu. Mais chacun peut appr&amp;eacute;cier les moments o&amp;ugrave; il est en paix avec la ville telle qu&amp;rsquo;elle est, malgr&amp;eacute; ce qu&amp;rsquo;elle est.&lt;br /&gt;
&amp;nbsp;&lt;br /&gt;
&lt;b&gt;Micha&amp;euml;l Darin&lt;/b&gt; est architecte et historien. Il a enseign&amp;eacute; &amp;agrave; l&amp;rsquo;Ecole d&amp;rsquo;architecture de Nantes, pendant une vingtaine d&amp;rsquo;ann&amp;eacute;es, le projet et l&amp;rsquo;histoire de l&amp;rsquo;architecture. Depuis une dizaine d&amp;rsquo;ann&amp;eacute;es, il occupe &amp;agrave; l&amp;rsquo;Ecole nationale sup&amp;eacute;rieure d&amp;rsquo;architecture de Versailles le poste de professeur d&amp;rsquo;histoire de l&amp;rsquo;architecture et de la ville.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Micha&amp;euml;l Darin</text>
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Parigramme

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&amp;nbsp;&lt;/div&gt;
Attir&amp;eacute;s par les &amp;eacute;difices remarquables, les perspectives r&amp;eacute;guli&amp;egrave;res et le pittoresque, nous courons d'un site exceptionnel &amp;agrave; un autre sans porter beaucoup d'attention aux quartiers que nous traversons.&lt;/div&gt;
&lt;br /&gt;
Trop ordinaires, sinon trop laids... Et si nous regardions avec davantage de curiosit&amp;eacute; ce tissu urbain banal ? Ses imperfections -bicoques insolites, d&amp;eacute;calages de toitures, juxtapositions surprenantes, immeubles en retrait... r&amp;eacute;sultent des interventions d'une foule d'acteurs sociaux qui ont rarement les m&amp;ecirc;mes int&amp;eacute;r&amp;ecirc;ts et ne disposent pas des m&amp;ecirc;mes moyens pour parvenir &amp;agrave; leurs fins. Ainsi se fabriquent les villes, l'allure des rues n'&amp;eacute;tant finalement que la traduction des accords, des compromis ou des brouilles entre architectes, repr&amp;eacute;sentants de la puissance publique, propri&amp;eacute;taires ou investisseurs, dans un fascinant m&amp;eacute;lange d'harmonie et disharmonie.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Architecte et historien, &lt;b&gt;Micha&amp;euml;l Darin&lt;/b&gt; est professeur d'histoire de l'architecture et de la ville &amp;agrave; l'Ecole nationale sup&amp;eacute;rieure d'architecture de Strasbourg.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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                  <text>Crévilles</text>
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                <text>La comédie urbaine</text>
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                <text>analyse spatiale, espace urbain, forme urbaine, mutation urbaine, paysage urbain, renouvellement urbain, Darin Michaël</text>
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Michael Darin</text>
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16 octobre 2008

</text>
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InFolio

</text>
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450</text>
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                <text>&lt;div&gt;&lt;b&gt;Pr&amp;eacute;sentation par l'&amp;eacute;diteur :&lt;/b&gt;&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Ce livre est destin&amp;eacute; aux fl&amp;acirc;neurs. Son ambition est de faire entrer dans leur champ de vision les traces laiss&amp;eacute;es, dans notre paysage urbain, par la &amp;quot;com&amp;eacute;die urbaine&amp;quot; : l&amp;rsquo;encha&amp;icirc;nement des traces laiss&amp;eacute;es par d&amp;rsquo;innombrables acteurs venus de toutes les sph&amp;egrave;res sociales, encha&amp;icirc;nement qui cr&amp;eacute;e nos rues et nos places, ces &amp;oelig;uvres collectives. Ces assemblages, v&amp;eacute;ritables tours de Babel, r&amp;eacute;sultent d&amp;rsquo;&amp;eacute;quilibres entre les moyens, int&amp;eacute;r&amp;ecirc;ts, repr&amp;eacute;sentations et id&amp;eacute;es de groupes sociaux qui ne partagent pas la m&amp;ecirc;me &amp;quot;langue constructive&amp;quot;.&lt;/div&gt;
&lt;br /&gt;
La com&amp;eacute;die urbaine insiste sur la complexit&amp;eacute; de l&amp;rsquo;entreprise collective nomm&amp;eacute;e ville, en attirant l&amp;rsquo;attention sur les d&amp;eacute;tails bizarres qu&amp;rsquo;on peut voir dans l&amp;rsquo;espace urbain, &amp;agrave; Paris et dans bien d&amp;rsquo;autres villes fran&amp;ccedil;aises. Ces anomalies ne sont pas des &amp;eacute;checs. Elles le seraient si la pertinence d&amp;rsquo;une forme urbaine &amp;eacute;tait jug&amp;eacute;e &amp;agrave; l&amp;rsquo;aune de ses concepteurs. La ville r&amp;eacute;elle n&amp;rsquo;est pas l&amp;rsquo;ombre d&amp;rsquo;une ville id&amp;eacute;ale. Les livres qui lui sont consacr&amp;eacute;s sont souvent hant&amp;eacute;s par le spectre de la cit&amp;eacute; id&amp;eacute;ale. Mais la ville est le ph&amp;eacute;nom&amp;egrave;ne imparfait par excellence. En mouvement perp&amp;eacute;tuel, per&amp;ccedil;ue &amp;agrave; partir de points de vue changeants, elle d&amp;eacute;fie tout jugement.&lt;/div&gt;
&lt;br /&gt;
Ce livre propose de voir et appr&amp;eacute;cier autrement les villes, de les regarder comme des &amp;oelig;uvres collectives &amp;agrave; l&amp;rsquo;&amp;eacute;volution desquelles contribuent des concepteurs, certes, mais &amp;eacute;galement une multitude d&amp;rsquo;autres acteurs. Comme le langage, la ville se transforme sans cesse et surprend toujours.Est-ce si grave ? Pas pour le promeneur qui, en chaque lieu ou presque, comme le libertin de Kundera, est mu par &amp;quot;le d&amp;eacute;sir de s&amp;rsquo;emparer de l&amp;rsquo;infinie diversit&amp;eacute; du monde&amp;quot;. Surtout s&amp;rsquo;il ne projette pas sur les villes un id&amp;eacute;al subjectif. Bien s&amp;ucirc;r, personne ne vit dans un &amp;eacute;tat permanent de bien-&amp;ecirc;tre absolu. Mais chacun peut appr&amp;eacute;cier les moments o&amp;ugrave; il est en paix avec la ville telle qu&amp;rsquo;elle est, malgr&amp;eacute; ce qu&amp;rsquo;elle est.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Ecole nationale sup&amp;eacute;rieure d&amp;rsquo;architecture de Versailles&lt;/a&gt; le poste de professeur d&amp;rsquo;histoire de l&amp;rsquo;architecture et de la ville.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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                <text>Ouvrage</text>
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        <name>Darin Michaël</name>
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        <name>espace urbain</name>
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        <name>forme urbaine</name>
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        <name>mutation urbaine</name>
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        <name>renouvellement urbain</name>
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                  <text>Multimédia</text>
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                  <text>Crévilles</text>
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                <text>Do Londoners have a right to the city?</text>
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                <text>, droit à la ville, équité sociale, injustice, planification, London, Londres, économie, mouvement social, Edwards Michael, Catterall Bob, Gibbons Andrea, Kuklowsky Celine</text>
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30 March 2010

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Michael Edwards, 
Bob Catterall, 
Andrea Gibbons, 
Celine Kuklowsky</text>
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                <text>http://justspace2010.wordpress.com/welcome-to-just-space/30-march-public-meeting/</text>
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                <text>&lt;div&gt;&lt;b&gt;Organisers' description : &lt;/b&gt;&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
London grassroot groups are certainly making it clear what they need, from housing and transport to jobs and the environment. Is there a basic demand that underlies these needs? Is the idea of rights to the city a focus for that demand? This meeting explores the idea that Right to the City (RTTC) is a good focus for these needs and demands. It is called by individuals from UCL's Bartlett School of Planning, UCL's Urban Lab, the London-based international journal CITY, and the Just Space Network of London community groups. The meeting is the start of a potential series triggered partly by the talks given last autumn in London by Peter Marcuse, veteran lawyer, planning educator and activist in New York. It takes advantage of the presence in London of 2 activists who have been involved with the US RTTC movement and of the discussion advanced and continuing in CITY by Peter Marcuse and his colleagues. This meeting will be a series of short talks on the London issues, a short talk on the USA movement and then time for a substantial structured debate and discussion.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Michael Edwards &lt;/b&gt;is a Senior Lecturer and Leverhulme Fellow in the Bartlett School of Planning at University College London.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Bob Catterall &lt;/b&gt;is Editor-in-Chief of City journal.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Andrea Gibbons &lt;/b&gt;is an assistant editor of City journal and a research student at the London School of Economics.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Celine Kuklowsky &lt;/b&gt;is an assistant editor of City journal and works in the Social Policy Department at the London School of Economics.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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</text>
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