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Figure 3.7
Pueblo Espanol, Barcelona, Reventós,
Folguera, Nogues and Utrillo, 1927. Faithful
reproductions of traditional Spanish architecture are
used to re-create an intimate urban scale and sense
of place. Created for the international exhibition of
1927, it remains a popular tourist destination today.
Figure 3.8
Poundbury, Dorset, Leon Krier, 1988–97.
Although cleverly designed by Leon Krier,
Poundbury’s overt traditional and neo-classical
architecture has led several critics to dismiss this
variant of New Urbanism as merely an exercise in
nostalgia.
Figure 3.9
Kirchsteigfeld, Potsdam, Germany, Rob
Krier, 1992–2003. Rob Krier, brother of Leon, has used
similar traditional urban typologies of street and
square, but this new German suburb has been built
with refreshingly crisp and clean contemporary
aesthetics. Similar successful urban design in the USA
is all too often rendered in clumsy, pastiche 
neo-classicism.
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Kevin Lynch, and Jane Jacobs during the early 1960s.
Lynch’s seminal work 
Image of the City
(1960) intro-
duced the powerful idea of making the city ‘legible’
to the user through the coding and manipulation of
simplified urban elements such as districts, paths,
edges, nodes and landmarks. Jacobs, in her powerful
indictment of modernist city planning, 
The Death
and Life of American Cities
(1962), specifically
reminded architects of the importance of the street in
city life, though the message fell on deaf ears for at
least another decade. The same points were repeated
in Britain in 1973 by Nicholas Taylor in his book 
The
Village in the City
, where he argued for the return to
traditional patterns of public and private space, front
and back gardens, porches and streets as the necessary
armature of community life (Taylor, 1973).