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New York’s business elite decamps to millennial-friendly Hudson Yards
March 11, 2019 | | Financial Times | by Joshua Chaffin.

The $25bn Hudson Yards, the site of KKR’s new office and one of the most ambitious New York developments since Rockefeller Center, officially opens its doors this week after more than a decade in the works. It is big, boasting as much new office space as all of central Pittsburgh.

It is an engineering feat. Its towers are constructed on top of a platform that sits above a working rail yard. Its builders crafted 90-tonne columns to support the weight. They also devised a custom cooling system for the soil within the platform so that tree roots would not overheat.

As KKR can attest, Hudson Yards represents another extreme: it is the boldest expression of a new fashion in corporate real estate that buildings and “space” should be potent weapons in a fight to recruit and retain talented young workers.

The Related Companies and its partner, Oxford Properties, have made that a central element of a sales pitch that has persuaded KKR and other power brokers to quit Manhattan’s corporate strongholds in midtown and downtown and move west.

Joining Mr Kravis in his new home are Larry Fink, who is moving BlackRock, the world’s largest asset manager, to Hudson Yards; attorney David Boies and his law firm Boies Schiller Flexner, and hedge fund managers Daniel Loeb and Steven A Cohen, among others.
elitism  Hudson_Yards  KKR  Manhattan  millennials  New_York_City  Oxford_Properties  property_development  vitality 
6 weeks ago by jerryking
Los Angeles, Houston and the appeal of the hard-to-read city
"This is not going to be a column about all the things the New York Times got wrong about the Los Angeles Times in its recent front-page story by Tim Arango and Adam Nagourney, "A Paper Tears Apart in a City That Never Quite Came Together." It is not, for the most part, going to be about all the things the New York Times got wrong (or simply failed to mention) about Los Angeles itself in that article, which argued that recent turmoil at this newspaper is emblematic of the city's broader lack of support for its major institutions. Plenty of smart people have already weighed in on both fronts.

And yes, every word in the previous sentence links to one of those smart people. Here are a couple more for good measure. When Josh Kun, Carolina Miranda, Daniel Hernandez, David Ulin, Alissa Walker, Matthew Kang and Carolyn Kellogg are united in knocking your analysis of Los Angeles, it might, you know, be a sign.

Anyway. This is going to be a column, instead, about something slightly different: about the legibility (and illegibility) of cities more generally. About how we react — as reporters and critics and simply as people — when we're confronted with a city that doesn't make sense to us right away.

Ten days or so before that story appeared, I spent a long weekend in Houston, meeting up with three old friends ostensibly to see the Warriors, the NBA team I grew up rooting for, play the Rockets — but also just to hang out and eat barbecue and visit the Menil, my favorite museum building in America (just edging out another Texas landmark, the Kimbell in Fort Worth).

Houston is casually written off even more often than Los Angeles, which is saying something. Now the fourth largest city in the country in population — and gaining on third-place Chicago — it's an unruly place in terms of its urbanism, a place that (as Los Angeles once did) has room, or makes room, for a wide spectrum of architectural production, from the innovative to the ugly. Like Los Angeles, it's a city that invested heavily in freeways and other car-centric infrastructure last century and remains, in many neighborhoods, a terrible place to walk.

It's long been a place people go to reinvent themselves, to get rich or to disappear. The flip side of its great tolerance is a certain lack of cohesion, a difficulty in articulating a set of common civic goals. (Here's where I concede that the instinct behind the New York Times piece on L.A., if little about its execution, was perfectly reasonable.) As is the case in Los Angeles, the greatest thing and the worst thing about Houston are one and the same: Nobody cares what anybody else is doing. Freedom in both places sometimes trumps community. It also tends to trump stale donor-class taste.

Roughly one in four residents of Houston's Harris County is foreign-born, a rate nearly as high as those in New York and Los Angeles. Houston's relationship with Dallas, the third biggest city in Texas, is something like L.A.'s with San Francisco; the southern city in each pair is less decorous, less fixed in its civic identity and (at the moment, at least) entirely more vital.

I've been to Houston five or six times; I like spending time there largely because I don't know it as well as I'd like to. That's another way of saying that while I'm there, I'm reminded of the way in which much of the world interacts with and judges Los Angeles, from a position of alienation and even ignorance. I just happen to enjoy that sensation more than most people do.

If I had to put my finger on what unites Houston and Los Angeles, it is a certain elusiveness as urban object. Both cities are opaque and hard to read. What is Houston? Where does it begin and end? Does it have a center? Does it need one? It's tough to say, even when you're there — even when you're looking directly at it.

The same has been said of Los Angeles since its earliest days. Something Carey McWilliams noted about L.A. in 1946 — that it is a place fundamentally ad hoc in spirit, "a gigantic improvisation" — is perhaps even more true of Houston. Before you can pin either city down, you notice that it's wriggled out of your grasp.

People who are accustomed to making quick sense of the world, to ordering it into neat and sharply defined categories, tend to be flummoxed by both places. And reporters at the New York Times are certainly used to making quick sense of the world. If there's one reason the paper keeps getting Los Angeles so spectacularly wrong, I think that's it. Smart, accomplished people don't like being made to feel out of their depth. Los Angeles makes out-of-town reporters feel out of their depth from their first day here.

Their reaction to that feeling, paradoxically enough, is very often to attempt to write that feeling away — to conquer that sense of dislocation by producing a story that sets out to explain Los Angeles in its entirety. Because it's a challenge, maybe, or because they simply can't be convinced, despite all the evidence right in front of them, that Los Angeles, as cities go, is an especially tough nut to crack.

Plenty of journalists have left Los Angeles over the years and moved to New York to work for the New York Times; none of them, as far as I know, has attempted, after two or three months on the job, to write a piece explaining What New York City Means. I can think of many New Yorkers — each of them highly credentialed academically or journalistically or both, which is perhaps the root of the problem — who have come to Los Angeles and tried to pull off that same trick here.

That tendency — to attempt the moon shot, the overarching analysis, too soon — is equal parts hubris and panic. It usually goes about as well as it went this time around for Arango, not incidentally a brand-new arrival in the New York Times bureau here, and Nagourney.

Among the most dedicated scholars of Houston's urban form in recent years has been Lars Lerup, former dean of the Rice University School of Architecture. In his new book of essays, "The Continuous City," he argues that the first step in understanding Houston and cities like it is to begin with a certain humility about the nature and scale of the task.

This kind of city has grown so large — in economic and environmental as well as physical reach — that it begins to stretch beyond our field of vision. The best way to grasp it, according to Lerup, is to understand that it is not Manhattan, Boston, San Francisco or Chicago — to recognize it instead as "a vast field with no distinct borders."

"The old city was a discrete object sitting on a Tuscan hill surrounded by a collectively constructed wall; the new city is everywhere," he writes. "Only when we accept that we can only attain a partial understanding can work begin."

Lerup stresses that huge, spread-out cities like Houston — which he also calls "distributed cities," places where "the spiky downtown is just a blip in the flatness" — have long been tough to read, in part because they are "always in the throes of change." But the relationship between urbanization and climate change has added a new layer of complexity, because big metro regions and their pollution are exacerbating the ecological crisis. The city now "owns everything" and must answer for everything, "even the raging hurricane bearing down on its coast." The vast city has grown vaster still.

If there's one place I part ways with Lerup, it has to do with his insistence that "few conceptual tools have evolved" to help us grapple with the distributed city and its meanings. At least in the case of Los Angeles, the literature on this score is richer, going back many decades, than even many locals realize.

There's not only McWilliams' superb, clear-eyed book "Southern California: An Island on the Land," which I would make required reading for every new hire if I were running the Los Angeles bureau of the New York Times. (Especially the part where McWilliams admits that he hated Los Angeles when he arrived and that it took him "seven long years of exile" to understand and appreciate the city. Seven years! And that was with a brain bigger and more nimble than most.) There's also architect Charles Moore's 1984 guidebook, "City Observed: Los Angeles," which he wrote with Peter Becker and Regula Campbell.

Right at the beginning, Moore, as if to anticipate Lerup, reminds his readers that L.A. is "altogether different from the compact old centers of Manhattan and Boston." (It is not a discrete object sitting on a Tuscan hill.) Making sense of it, as a result, requires "an altogether different plan of attack."

That simple bit of advice is the only one journalists newly arrived in Los Angeles really need to get started on the right foot. It's also one those journalists have been ignoring for 34 years and counting."
houston  losangeles  cities  illegibility  vitality  urban  urbanism  nyc  christopherhawthorne  2018  socal  california  larlerup  manhattan  boston  sanfrancisco  chicago  nytimes  careymcwilliams  joshkun  carolinamiranda  danielhernandez  davidulin  latimes  alissawalker  matthewkang  carolynkellogg  timarango  adamnagourney  elitism  legibility  population  place  identity  elusiveness  hubris  panic  urbanization  climatechange  complexity  charlesmoore 
february 2018 by robertogreco
The idea of empire in the "Aeneid" on JSTOR
http://latindiscussion.com/forum/latin/to-rule-mankind-and-make-the-world-obey.11016/
Let's see...Aeneid, Book VI, ll. 851-853:

tu regere imperio populos, Romane, memento
(hae tibi erunt artes), pacique imponere morem,
parcere subiectis et debellare superbos.'

Which Dryden translated as:
To rule mankind, and make the world obey,
Disposing peace and war by thy own majestic way;
To tame the proud, the fetter'd slave to free:
These are imperial arts, and worthy thee."

If you wanted a literal translation,
"You, Roman, remember to rule people by command
(these were arts to you), and impose the custom to peace,
to spare the subjected and to vanquish the proud."

I don't want to derail your thread but pacique imponere morem -- "to impose the custom to peace"
Does it mean "be the toughest kid on the block," as in Pax Romana?

...

That 17th century one is a loose translation indeed. Myself I'd put it as

"Remember to rule over (all) the (world's) races by means of your sovereignty, oh Roman, (for indeed) you (alone) shall have the means (to do so), and to inculcate the habit of peace, and to have mercy on the enslaved and to destroy the arrogant."

http://classics.mit.edu/Virgil/aeneid.6.vi.html
And thou, great hero, greatest of thy name,
Ordain'd in war to save the sinking state,
And, by delays, to put a stop to fate!
Let others better mold the running mass
Of metals, and inform the breathing brass,
And soften into flesh a marble face;
Plead better at the bar; describe the skies,
And when the stars descend, and when they rise.
But, Rome, 't is thine alone, with awful sway,
To rule mankind, and make the world obey,
Disposing peace and war by thy own majestic way;
To tame the proud, the fetter'd slave to free:
These are imperial arts, and worthy thee."
study  article  letters  essay  pdf  piracy  history  iron-age  mediterranean  the-classics  big-peeps  literature  aphorism  quotes  classic  alien-character  sulla  poetry  conquest-empire  civilization  martial  vitality  peace-violence  order-disorder  domestication  courage  multi  poast  universalism-particularism  world  leviathan  foreign-lang  nascent-state  canon  org:junk  org:edu  tradeoffs  checklists  power  strategy  tactics  paradox  analytical-holistic  hari-seldon  aristos  wisdom  janus  parallax 
january 2018 by nhaliday
Thy name is - Wikipedia
In most instances, the usage is an allusion to the Shakespearean play Hamlet (I, ii, 146). In this work, the title character is chastised by his uncle (and new stepfather), Claudius, for grieving his father so much, calling it unmanly. In his resultant soliloquy, Hamlet denounces his mother's swift remarriage with the statement, "Frailty, thy name is woman."[1] He thus describes all of womankind as frail and weak in character.[2] The phrase is recognized as one of the "memorable expressions" from the play to become "proverbial".[3]
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july 2017 by nhaliday
Caesar and the Pirates - Livius
[2.4] He also wrote poems and speeches which he read aloud to them, and if they failed to admire his work, he would call them to their faces illiterate savages, and would often laughingly threaten to have them all hanged. They were much taken with this and attributed his freedom of speech to a kind of simplicity in his character or boyish playfulness.

...

[2.7] Junius, however, cast longing eyes at the money, which came to a considerable sum, and kept saying that he needed time to look into the case.Caesar paid no further attention to him. He went to Pergamon, took the pirates out of prison and crucified the lot of them, just as he had often told them he would do when he was on the island and they imagined that he was joking.

Caesar was alpha
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june 2017 by nhaliday

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