A new kind of city park has emerged in the early twenty-first century. Postindustrial parks transform the derelict remnants of an urban past into distinctive public spaces that meld repurposed infrastructure, wild-looking green space, and landscape architecture. For their proponents, they present an opportunity to turn disused areas into neighborhood anchors, with a host of environmental and community benefits. Yet there are clear economic motives as well-successful parks have helped generate billions of dollars of city tax revenues and real estate development. Kevin Loughran explores the High Line in New York, the Bloomingdale Trail/606 in Chicago, and Buffalo Bayou Park in Houston to offer a critical perspective on the rise of the postindustrial park. He reveals how elites deploy the popularity and seemingly benign nature of parks to achieve their cultural, political, and economic goals. As urban economies have become restructured around finance, real estate, tourism, and cultural consumption, parks serve as civic shields for elite-oriented investment. Tracing changing ideas about cities and nature and underscoring the centrality of race and class, Loughran argues that postindustrial parks aestheticize past disinvestment while serving as green engines of gentrification. A wide-ranging investigation of the political, cultural, and economic forces shaping park development, Parks for Profit reveals the social inequalities at the heart of today's new urban landscape.

A new kind of city park has emerged in the early twenty-first century. Postindustrial parks transform the derelict remnants of an urban past into distinctive public spaces that meld repurposed infrastructure, wild-looking green space, and landscape architecture. For their proponents, they present an opportunity to turn disused areas into neighborhood anchors, with a host of environmental and community benefits. Yet there are clear economic motives as well-successful parks have helped generate billions of dollars of city tax revenues and real estate development. Kevin Loughran explores the High Line in New York, the Bloomingdale Trail/606 in Chicago, and Buffalo Bayou Park in Houston to offer a critical perspective on the rise of the postindustrial park. He reveals how elites deploy the popularity and seemingly benign nature of parks to achieve their cultural, political, and economic goals. As urban economies have become restructured around finance, real estate, tourism, and cultural consumption, parks serve as civic shields for elite-oriented investment. Tracing changing ideas about cities and nature and underscoring the centrality of race and class, Loughran argues that postindustrial parks aestheticize past disinvestment while serving as green engines of gentrification. A wide-ranging investigation of the political, cultural, and economic forces shaping park development, Parks for Profit reveals the social inequalities at the heart of today's new urban landscape.

2017 Choice Outstanding Academic Title The High Line, an innovative promenade created on a disused elevated railway in Manhattan, is one of the world’s most iconic new urban landmarks. Since the opening of its first section in 2009, this unique greenway has exceeded all expectations in terms of attracting visitors, investment, and property development to Manhattan’s West Side. Frequently celebrated as a monument to community-led activism, adaptive re-use of urban infrastructure, and innovative ecological design, the High Line is being used as a model for numerous urban redevelopment plans proliferating worldwide. Deconstructing the High Line is the first book to analyze the High Line from multiple perspectives, critically assessing its aesthetic, economic, ecological, symbolic, and social impacts. Including several essays by planners and architects directly involved in the High Line’s design, this volume also brings together a diverse range of scholars from the fields of urban studies, geography, anthropology, sociology, and cultural studies. Together, they offer insights into the project’s remarkable success, while also giving serious consideration to the critical charge that the High Line is “Disney World on the Hudson,� a project that has merely greened, sanitized, and gentrified an urban neighborhood while displacing longstanding residents and businesses. Deconstructing the High Line is not just for New Yorkers, but for anyone interested in larger issues of public space, neoliberal redevelopment, creative design practice, and urban renewal.