Carolyn S. Loeb – författare

In The City as Subject, Carolyn S. Loeb examines distinctive bodies of public art in Berlin: legal and illegal murals painted in West Berlin in the 1970s and 1980s, post-reunification public sculptures, and images and sites from the street art scene. Her careful analyses show how these developed new architectural and spatial vocabularies that drew on the city''s infrastructure and daily urban experience. These works challenged mainstream urban development practices and engaged with citizen activism and with a wider civic discourse about what a city can be. Loeb extends this urban focus to her examination of the extensive outdoor installation of the Berlin Wall Memorial and its mandate to represent the history of the city''s division. She studies its surrounding neighborhoods to show that, while the Memorial adopts many of the urban-oriented vocabularies established by the earlier works of public art she examines, it truncates the story of urban division, which stretches beyond the Wall''s existence. Loeb suggests that, by embracing more multi-vocal perspectives, the Memorial could encourage the kind of participatory and heterogeneous construction of the city championed by the earlier works of public art.

In The City as Subject, Carolyn S. Loeb examines distinctive bodies of public art in Berlin: legal and illegal murals painted in West Berlin in the 1970s and 1980s, post-reunification public sculptures, and images and sites from the street art scene. Her careful analyses show how these developed new architectural and spatial vocabularies that drew on the city''s infrastructure and daily urban experience. These works challenged mainstream urban development practices and engaged with citizen activism and with a wider civic discourse about what a city can be. Loeb extends this urban focus to her examination of the extensive outdoor installation of the Berlin Wall Memorial and its mandate to represent the history of the city''s division. She studies its surrounding neighborhoods to show that, while the Memorial adopts many of the urban-oriented vocabularies established by the earlier works of public art she examines, it truncates the story of urban division, which stretches beyond the Wall''s existence. Loeb suggests that, by embracing more multi-vocal perspectives, the Memorial could encourage the kind of participatory and heterogeneous construction of the city championed by the earlier works of public art.

In The City as Subject, Carolyn S. Loeb examines distinctive bodies of public art in Berlin: legal and illegal murals painted in West Berlin in the 1970s and 1980s, post-reunification public sculptures, and images and sites from the street art scene. Her careful analyses show how these developed new architectural and spatial vocabularies that drew on the city’s infrastructure and daily urban experience. These works challenged mainstream urban development practices and engaged with citizen activism and with a wider civic discourse about what a city can be.Loeb extends this urban focus to her examination of the extensive outdoor installation of the Berlin Wall Memorial and its mandate to represent the history of the city’s division. She studies its surrounding neighborhoods to show that, while the Memorial adopts many of the urban-oriented vocabularies established by the earlier works of public art she examines, it truncates the story of urban division, which stretches beyond the Wall’s existence. Loeb suggests that, by embracing more multi-vocal perspectives, the Memorial could encourage the kind of participatory and heterogeneous construction of the city championed by the earlier works of public art.

During the 1920s, enterprising realtors, housing professionals, and builders developed the models that became the inspiration for the subdivision tract housing now commonplace in the U.S.Originally published in 2001. Suburban subdivisions of individual family homes are so familiar a part of the American landscape that it is hard to imagine a time when they were not common in the U. S. The shift to large-scale speculative subdivisions is usually attributed to the period after World War II. In Entrepreneurial Vernacular: Developers' Subdivisions in the 1920s, Carolyn S. Loeb shows that the precedents for this change in single-family home design were the result of concerted efforts by entrepreneurial realtors and other housing professionals during the 1920s. In her discussion of the historical and structural forces that propelled this change, Loeb focuses on three typical speculative subdivisions of the 1920s and on the realtors, architects, and building-craftsmen who designed and constructed them. These examples highlight the "shared set of planning and design concerns" that animated realtors (whom Loeb sees as having played the "key role" in this process) and the network of housing experts with whom they associated. Decentralized and loosely coordinated, this network promoted home ownership through flexible strategies of design, planning, financing, and construction which the author describes as a new and "entrepreneurial" vernacular.