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• W229695753 abstract "Streetlights and Civic Imagery Prince Feisal: I n the Arab city of Cordoba were two miles of public lighting in the streets when London was a village... T.E. Lawrence: Yes, you were great. i'Hw/:...nine centuries ago. Lawrence: T i m e to be great again, my lord. — Alec Guinness as Feisal and Peter O'Took as Lawrence in Lawrence of Arabia, 1962 world of the 1960s, the old seemed fussy and worn to me while the new radiated technical prowess and confi­ dence in the future. In recent decades, technology, urban contexts and popular apprecia­ tion for streetlights and public space have changed. The American night has become brighter and peach colored as efficient, high-pressure sodium lamps replace mercury-vapor and incan­ descent lamps. Standards for the level of illumination have increased and engineers have sought economy by calling for taller light poles spaced far­ ther apart. In the suburban sprawl world of back-office business parks, super­ store malls and residential planned unit developments, the types of streets and urban fabric have mutated and multiplied; yet most are being illumi­ nated by widely spaced, look-alike cobrahead and shoebox streetlights. In reaction to this sameness, cities have started to designate (and sometimes have completely invented) historic neighborhoods and districts, creating a market for reproductions of old time streetlight fixtures. Sometimes the mix of old (orna­ mental) and new (minimalist) city fabrics and furnishings creates strange juxtapositions. Where neo-Victorian streetlights line the paths of ribbon- windowed, high-tech office campuses, the sprawl world seems to collide with M a i n Street USA. Conversely, highway-grade cobraheads line the streets of some of our most pedestrian- oriented central cities. Looking at the range of streetlight designs and the contexts i n which they are used, one might conclude that street design­ ers are torn between evoking small­ town nostalgia and bowing, in artless functionalism, to traffic and crime- fighting agendas. Gregory Tung In myth, fact and metaphor, street lighting is taken as a sign of civiliza­ tion. Along with department stores, train stations and other metropolitan archetypes, electric street lighting is an essential part of the contemporary city's image of urbanity and modernity. In the early years of electric light­ ing, the spectacle of urban streetlights was a popular fascination, a focus of City Beautiful planning and a motif of modernist literature, art and archi­ tecture. Today, i t seems we take street­ lights for granted, paying scant atten­ tion to these omnipresent fixtures of streets, parks, plazas and other pub­ lic spaces. This is a lost opportunity, for streetlights are one of the scaffolds upon which we hang an architecture of the public realm. M y childhood impressions of streetlights in and around the New York City area were divided between old and new. O l d meant the aging, ornate cast iron standards, Standards is a regular fea­ ture of Places that examines the origins of and rationales for practices, regulations and standards for design and building, and explores ways of developing standards that allow individual places to flourish. Readers are encouraged to sub­ mit ideas and articles. bishop's crook and others, along the city's avenues and the bracketed, hewn-timber poles along the parkways to Jones Beach. New meant the streamlined cobraheads of the 1964 World's Fair in Flushing Meadows, the orb-on-a-stick lighting of Modern plazas in Manhattan and the futur- istically angled highway mast lights at Kennedy Airport. In the space race P L A C E S" @default.
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• W229695753 date "1992-10-01" @default.
• W229695753 modified "2023-09-24" @default.
• W229695753 title "Streetlights and Civic Imagery [Standards]" @default.
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