Place Making

The paper, which is a summery of a larger research project, investigates Dubai in the period of 1971 to 2010, tracing the city’s historical and urban development in relation to its architectural and social identity. It argues that Dubai’s architectural product is largely a symptom of alienation and fragmentation, and signals the presence of a complex dual system.  First is Dubai’s highly iconic architecture and second is the function of Western culture, which the city holds as an ideal image to build upon. Even though Dubai posits many challenges to its resident population, the paper concludes that any attempt to promote a more communicative architecture in the city must address its particular historic and social construct, where the goal is “to understand the phenomenon itself in its unique and historical concreteness [and] understand how this man, this people, or this state is what it has become or, more generally, how it happened that it is so.” (Hans Georg Gadamer, Truth and Method, 4)

The practice of repurposing  resources  that  already  exist—versus innovating or engineering new ones—is an area of significant overlap between contemporary art and twenty-first-century capitalism. Low-risk and relatively low-cost, the process of creative reuse generates fantastic value-adding possibilities. Or so it seems. For even as real estate speculators and city planners discover the value of high culture for upgrading urban infrastructures, so too have a growing number of contemporary artists learned to mimic and perhaps intentionally mistranslate neoliberal enterprise culture's urban strategies into a repertoire of exonomic tools and “art+realty” hybrids that game the system against itself. Whether post-Fordist capitalism now resembles art or vice versa, virtually everything we thought we knew about “serious” culture has been peeled away with astonishing force, leaving  behind  a  raw,  and  in  some  ways  vulnerable thing: a bare art world, fully congruent with the political and economic emergency that marks our contemporaneous present.

Many small island destinations owe their spatial character to their entanglements with stakeholders involved in the arts. Space is the dynamic outcome of complex relational processes, which makes it impossible to identify a straightforward development path — including when it comes to the arts and tourism. Using assemblage thinking, we scrutinize the different translocal processes influencing art-based tourism activities on Bornholm, Denmark and Naoshima, Japan. On these islands, artists, investors, residents, destination managers, creative individuals, and government officials are all involved in networks and negotiations that form complex translocal assemblages of art and tourism. The craft-artists of Bornholm took advantage of regional development policies aimed at fostering rural tourism development, and subsequently established a destination known for quality professional craft-art. On Naoshima, top-down corporate investments in large-scale art developments have clashed with lo...

As a great heritage of Safavid dynasty in Isfahan, Naqsh-e-Jahan square has attracted different groups of people for more than four centuries (Constructed between 1598 and 1629).  However, most studies related to this place are about its physical and historical characteristics rather than relation and bonds between people and the square.  Whilst, a place is something more than physical forms and components and what matters most for a place to survive is presence of people and the attitude they adopt towards it.
The main objective of this study is introducing Naqsh-e-Jahan square with an emphasis on Norberg-Schulz’s place phenomenology.  Accordingly, this question raised that how this square –as the physical representative of Iranian thought, religion, culture, art and theosophy during Safavid era- could be defined via place meaning components in Norberg-Schulz’s place phenomenology.
This research that has been conducted in a descriptive analytical method is based on library and field studies.  It shall be emphasized that the author is aware that phenomenology is a qualitative approach.  On the other hand, most critics refer to it as a descriptive one and claim that it can rarely end up to standardized results.  Although this paper did not aim to reduce meaning components to standards, it showed they could be used in such way, if needed.  In this manner, meaning components of place were extracted from Norberg-Schulz’s outstanding work on place phenomenology –Genius Loci.  Along with supportive studies, mentioned components were distributed in form of questionnaire among 384 Iranians aging 20-64 who had experienced Naqsh-e-Jahan square at least once.  All results were calculated percentile and then meaning components of place were analyzed and presented in a qualitative description.
Lastly, Naqsh-e-Jahan square was described according to Norberg-Schulz’s place components, resulting to introduction of qualitative meaning components of Naqsh-e-Jahan square which have provided people dwelling opportunity for more than four centuries.
Keywords: Place, Place Phenomenology, Dwelling, Norberg-Schulz, Naqsh-e-Jahan Square.

Uniqueness, comfort, security and safety are attributes in a place that can influence the place attachment. Place attachment is the relationship of function and emotional components between people and place that creates meaning. Place attachment in public open spaces is usually related with the bond of the people and its physical environment and also the perception either negative or positive of the place. This research examine the role of uniqueness, comfort, security and safety as attributes which influenced the place attachment in the Kuching Riverfront Promenade (KRP), a popular public space among the locals people. Mixed method approach was using in this research to discovers the role of attributes to place attachment. A total of 165 respondents and 18 stall operators were interviewed, at the same time field survey was conducted in a selected area of the promenade. Findings indicated that the attributes: uniqueness, comfort, security and safety have a strong impact to responden...

This article explores community responses to ‘Golden Head’, a guerrilla artwork that was installed covertly in a Melbourne park in early 2020 by unknown persons. Focusing on local residents’ reactions to this mysterious, unsanctioned statue, we document an ongoing array of playful speculations, creative responses and imaginative interactions that unfolded both in situ and via social media. We argue that in eliciting an outpouring of jokes, memes, stories, photographs and other creative rejoinders, this enigmatic object has strengthened and renewed a collective sense of place. We also consider Golden Head’s reception in light of recent challenges to the legitimacy of many traditional memorial statues, and as a response to the increasingly over-regulated city. We conclude that this outpouring of imaginative local reactions to Golden Head constitutes a playful form of collective place-making that implicitly critiques the grandiose ambitions of official statues and affirms the oft-neglected ludic potential of urban space.

Depending on location, size and former use, brownfields in the Ruhr have different potentials. Besides brownfields where viable regeneration projects are possible there are many sites that are not attractive to the market. One type of use for this category is post-industrial nature (e.g. industrial forests). Following the overall concept of sustainable development, these sites offer potentials for creative 'place-making' by local residents. The approach of 'place-making' is embedded in the discussion of establishing local governance in urban districts of the Ruhr. Introducing one best-practice-case (the Rheinelbe industrial forest in Gelsenkirchen), the paper focuses on the discussion of 'place-making' as a strategy for innovative brownfield development and local governance using the example of the former Lohberg colliery in Dinslaken.

For download is the abstract and intro to the text. If you have institutional access to CITY, you can access the full text here: http://www.tandfonline.com/doi/abs/10.1080/13604813.2017.1374773

If you do not have institutional access, you can use this eprint link to access the full text: http://www.tandfonline.com/eprint/79c59SVnRucgbvzV9WYx/full

This paper presents a sympathetic critique of a right to the city perspective that sets up a binary between city inhabitants who actively produce and appropriate city space for its use value as opposed to those who expropriate urban space for realizing exchange value. It suggests that this tends to gloss over the actual divisions among users of city space and their complicity with forces of capital and the state that constitute real limits for the urban revolution that the right to the city envisions. It then argues that an analytics of contested place-making, including practices of commoning, can both include the central conflict that is important to the rights to the city perspective and overcome the limitations of a rights framework

The number of public events termed festival has dramatically increased in Slovenia during the last decade. We are witnessing a true festivalization of society. The article presents some ethnological, anthropological and humanistic theories on festivals. On the basis of ethnographic data the author also develops his thesis on festival production of locality. According to this premise, a segment of festival (hyper-)production can be linked to structures of local identification.

Increasingly marked by ethnic resettlement, large-scale development and the destruction of cultural places, today's world challenges the essential bond between indigenous peoples and the land. Popular ideas about the supportive role of long-term, phenomenological links to place and heritage appear to be losing their relevance. Yet, a closer look at the complexity of human connections to place reveals how painful memories and discomfort can also generate strong bonds that affirm community and cultural cohesiveness. Place-making in indigenous heritage landscapes marked by colonialism is often ambivalent, evoking Ruth Benedict's observation that the sacred ‘may be a source of peril or it may be a source of blessing’ (1934:28). Though the actual meaning of places may be fraught, a shared approach to such heritage can bind communities together, overcoming historic silences and a violent past. With specific reference to ethnographic research in the Marquesas Islands of French Polynesia, I illustrate the contingency of indigenous processes of place-making that are based in personal belief, discomfort and colonialism as much as affirmative interaction with the physical world.

Urban public open spaces are an important part of the urban environment, creating the framework for public life. The transformation of open space into successful public places is crucial in this regard. In the context of target-driven performance it is essential to identify the value of successful public open places, along with characteristics that define them. This research evaluated three case studies in Belgium (Namur, Wavre and La Louviere) which successfully transformed spaces into lively public open places. The transformation was captured by means of before-and-after imagery and analyses, and evaluated in terms of space-usage prior to, and after redesign, along with the experience and added value that the redesign brought to the area.

This paper analyses the Fortitude Valley Renewal Plan (2007) from the perspective of social sustainability. The objective is to develop policy recommendations to incorporate social sustainability in a pro-active manner in the regeneration process. This research is based on the analysis of planning documents and on semi-directed interviews with urban stakeholders involved in the regeneration process. In conclusion, we present relevant social sustainability criteria to measure the impact of the renewal plan on the existing community.

Copenhagen wants to be Europe's Christmas capital, even though other cities have already taken that idea.  Mikkel Noa Klein interviewed Greg Richards and Matias Thuen Jørgensen from the Center for Tourism Research at Roskilde University to find out if Copenhagen's bid could succeed.

TTHIS CHAPTER OUTLINES an open curatorial design
project in Australia which has engaged local communities,
organisations and museums in Liverpool
(NSW) – a municipality within the Greater Sydney
metropolitan area – using spatial practices and digital
mediation of the area’s rich and diverse cultural heritage.
The chapter reflects on the role of digital technologies
in renegotiating cultural heritage practices
through sensorial knowing and participatory experiences.
Museums, heritage sites and landscapes can all
be considered part of an electronic ecology – the pervasive
and networked technological world in which
we are immersed. Digital technology is transforming
all aspects of collecting, access, interpreting, engaging,
learning and sharing. An “ecological” approach
to curatorial design entails reflecting on the impact
of digital technologies on the artistry of experiencemaking
within collecting and exhibiting practices
and the devising of integrated strategies that enable
encounter, intimacy and embodied interactions
between people, places, memory and the things we
preserve from the past for the benefit of the future
generations.

La critica condivisa da Paci e Sini alla concezione scientifico-matematica di spazio e tempo che sorregge la concezione tradizionale di storia e la concezione razionalistica dell’architettura si sostanzia dell’appello al mondo della vita, alla spazialità e temporalità della vita vissuta, della durata e della relazione.
Nell'indagare il rapporto tra memoria e progetto tutto ciò ha un ruolo essenziale, così come l'apertura d'orizzonte offerto dalla genealogia e dalla sua costitutiva capacità di farsi carico di
quella circolarità delle estasi temporali per cui il passato necessita del futuro per acquistare il suo senso compiuto.

Edited by Cara Courage, Anita McKeown Routledge, 2019 https://www.routledge.com/Creative-Placemaking-Research-Theory-and-Practice/Courage-McKeown/p/book/9780367586935 This book makes a significant contribution to the history of placemaking, presenting grassroots to top-down practices and socially engaged, situated artistic practices and artsled spatial inquiry that go beyond instrumentalising the arts for development. The book brings together a range of scholars to critique and deconstruct the notion of creative placemaking, presenting diverse case studies from researcher, practitioner, funder and policymaker perspectives from across the globe. It opens with the creators of the 2010 White Paper that named and defined creative placemaking, Ann Markusen and Anne Gadwa Nicodemus, who offer a cortically reflexive narrative on the founding of the sector and its development. This book looks at vernacular creativity in place, a topic continued through the book with its focus on the practitioner and community-placed projects. It closes with a consideration of aesthetics, metrics and, from the editors, a consideration of the next ten years for the sector. If creative placemaking is to contribute to places-in-the-making and encourage citizenled agency, new conceptual frameworks and practical methodologies are required. This book joins theorists and practitioners in dialogue, advocating for transdisciplinary, resilient processes.

Space is constituted by physical construction, while creating internal and external perception. In a word, space is a place that combines objectivity and subjectivity. In 1989, architect Steven Holl revealed the concept of “anchoring.” This concept depends on a specific field of research that links site, idea, history and phenomena for each architectural design. Every building has one site and space. This site collects all purposes of the building. Both the building and the site are a determinant factor for each other since the beginning of architecture. Today, the urban voids are anchored to one place. This connection comes to light by associations that occur with myths and historical events. “Architecture depends on a location… a built-up area of a building… Its metaphysical and physical foundation… Architecture is an adaptation that constitutes absolute meanings with respect to the place relatively.” Today, the concept of “anchoring” reveals a new product that comprises a different viewpoint instead of the common features of abstract space. Actually, the concept of anchoring could be thought as a philosophical metaphor. The essence of anchoring refers to an organic bond between concept and form. An intertwined relation phenomena and idea emerges with the realization of a building, which gives rise to the combination of internal and external perception. The Kiasma Museum of Contemporary Art, constructed in 1996 in Helsinki, Finland, is one of the most important examples that display the intertwined relation and the archetypal position between idea and phenomenon. While the project, located in the centre of the city, geometrically intertwines with a “line of nature” to the urban void, the name of chiasmus –the duality of space and matter– indicates the meeting of city and landscape, or nature and culture; it is a primarily contextual matter (Kang, 2013). The conceptual basis of the project intertwines with the geometry of the city and nature. This geometry is reflected in the form of the building. This cultural line links the building to the hall while this line creates a natural line between Töölo Bay and the landscape (Holl, 1996). Therefore, the interaction among voids is provided by a line of nature. In the Kiasma Museum, the site is constituted from the connection of diverse city grids. The form of the building connects both the landscape and water while a stream permeates into the design. The building also refers to the notion of “place-making” because the aim of the project is to anchor architecture to place with multiple layers. In doing so, a third situation emerges as a representative of hybrids among voids, which forms the metaphysical, physical and poetic viewpoints for the place. A “third situation” is actually a lived space and shapes the chiasmatic link for the urban context. This means that in this project, the use of urban voids constitutes a notable architectural landmark for people. In the dictionary, “to anchor” means to moor a ship at sea with an anchor. As a matter of fact, the term of anchor can be described as “the instrument that serves as the act of fixation and designates the act of fixation or the state of being fixed, which is often related with navigation. The anchoring of a ship means the way it is fixed to particular coordinates” (Yorgancıoğlu, 2004, p. 33). Accordingly, a building should be a part of the place and a situation. In that case, the anchoring of a ship becomes a symbol for this situation. The notion of anchoring explains the alteration of the quality of urban perception with the concepts of stability and variability. In addition, anchoring advocates that it is necessary for looking from two non-linear points to the urban space. In his essay named as “Modernizm’in Yerellikle Uzlaşma Arayışı: Holl (Modernism's Search for Reconciliation with Locality: Holl)”, Abdi Güzer (1995) mentions Holl’s concept of anchoring in which the exterior voids are not only the foundation of the building, but also the foundation of design concepts. In addition, the building does not always have a change in order to take part in music, film or art. Thus, every building has only one place. Similarly, in his article “The Murmur of the Site,” architect Rafael Moneo states that architecture can be thought of living since “without the presence of the site, a singular and unique site, architecture, and urban life cannot exist” (Yorgancıoğlu, 2004, p. 35). While each design is realized by depending on a specific situation, the design attitude would inevitably change within the variability of these situations. According to anchoring, the site of a building has a strong link with its place, thus it is unthinkable without its site. In other words, not only does this hybrid create space, but also carries symbolic, metaphysical, and poetic meaning. Within the context of architectural design today, the concept of anchoring describes how a building fixes itself upon the site on which it sits and gradually changes its surroundings. These changes in the environment are later reflected on the people that occupy these spaces.

The appropriation of place and language is a key strategy by which post-colonial writers represent the identity of the individual. These two tasks go hand-in-hand because, in order to establish one’s bond with the land and re-write it from one’s perspective, language must also be stripped of its British connotations and adapted to the individual’s consciousness. Because of Singapore’s unique experience of post-colonialism and nation-building, various other presences besides the British coloniser also influence the way that language and place are conceived. These include the homelands of China and India and the government of Singapore, among others. Examining the works of poets from three different periods of the nation's history, I discuss how each practices appropriation through different means and to different ends as they respond to their specific historical circumstances. The three poets I will focus on are Wang Gungwu (pre-independence), Edwin Thumboo (early independence) and Alfian Sa’at (late independence). Each articulates an identity that is a hybrid of its various influences and unique to its moment of utterance.

This chapter addresses some specific aesthetic, spatial and affective dimensions of contemporary place-making strategies.  The 'affective atmosphere' of the Arc of Opportunity, understood through London Borough of Newham’s livery colour (magenta) is explored here through the  'tabula rasa' model of exploitative capitalism, affectively understood through the idea of an all-pervasive 'haze' at work in areas of intense place-making activities.

Journal: cultural geographies Manuscript ID CGJ-17-0076.R4 Manuscript Type: Article Abstract: Literature about place is frequently conceived by writers and readers as a response to, or a reproduction of, place. This essay is an intervention in disciplinary and interdisciplinary conceptualisations of literature and place where the text is positioned as a product of place. Our objective here is to provide an account of how literature might produce place; or more specifically, an account of how certain literary texts contribute to the production of place in material, and more-than-literary, ways. We call these types of literary texts the worldly text. The worldly text is more than a mirror or commentator on place. It is an actor in the material production of place. In considering the worldly text as an articulation of the literature-place interface, we investigate how images and affects from Helen Garner's 1977 novel Monkey Grip influence understandings and formations of place in Melbourne, specifically how the text reflexively participates in processes of urban transformation in the city's iconic inner northern suburbs of Fitzroy and Carlton.

All across the globe, there has been increasing recognition of the transformative power of creative placemaking to revive the economic and cultural life of cities. Singapore is no exception. Since 2008, the Singapore government has been engaged in a concerted effort to placemake Singapore into a culturally-vibrant cityscape with “heart and soul”. However, despite its increasing global popularity, what constitutes creative placemaking and its processes remain vague and tenuous. Notably, scant critical attention has also been paid on how Singapore has tried to adopt this global buzzword, and its impact on the localised dynamics of urban spaces and arts practices.

Drawing on personal reflections from my pedagogical and research experiences, this article will illuminate the current challenges obstructing creative placemaking from being truly embraced and embedded within the urban life of Singapore.  Importantly, this article will highlight creative placemaking as an important turn in Singapore’s urban planning and policy, and advocate for the importance of higher education teaching as a critical means to enable this turn.

In diesem Artikel wird der Wanderhandel als Ausdruck gesellschaftlicher Konflikte des 19. Jahrhunderts am Beispiel des oberlausitzer Grenzraums beleuchtet. Die Modernisierungsprozesse des 19. Jahrhunderts hielten auch und gerade für die historisch gewachsenen Strukturen der Oberlausitz enorme Wandlungsprozesse mit großem Konfliktpotenzial bereit: Die Zentralisierung staatlicher Macht und der Aufbau eines bürokratischen Verwaltungsapparates, die Durchsetzung kapitalistischer Wirtschaftsweisen und die nationale Homogenisierung vermöge des Staatsbürgerschaftkonzeptes drangen bis in die letzten Refugien alter Ordnungen vor. Diese Transformationen spiegeln sich in vielerlei Hinsicht im Phänomen des Wanderhandels, „hinter dem sich ein Widerstreit politischer, konfessioneller und wirtschaftlicher Interessen birgt.“  In den folgenden Überlegungen wird dieser Tatsache Rechnung getragen, indem unterschiedliche Akteursgruppen, Problemwahrnehmungen und Lösungsstrategien beleuchtet werden. Im Mittelpunkt der Betrachtung steht ein soziales Konfliktfeld, das sich zwischen dem staatlichen Wunsch nach Regulierung, dem wissenschaftlichen Versuch der Kategorisierung und dem Eigenwillen der ökonomischen und mobilen Akteure aufspannt.

This thesis tells two intertwined stories about stories about nature. One, theoretical, asks what stories and histories do and why storytelling matters in place-making and policy-making. The second questions the effect of narratives of pristine nature on place-meanings in southwest New Zealand, serving as a case study to illustrate the abstract relationships of the first. Throughout reflexive consideration of my research journey as academic storytelling contributes to my theoretical arguments. Narratives help humans make sense of time and their place in the world. Stories and histories both shape new and reflect current understandings of the world. Thus narratives of nature and place are historically, geographically, and culturally specific. Place-meanings result from the geography of stories layered over time on a physical location. In the iterative process of continually re-presenting landscapes in specific places, negotiation between storytellers with variable power shapes physical environments and future place-meanings. This thesis uses the pristine story to explore these links between stories and histories, placemeanings, and policy decisions. From the arrival of New Zealand's first colonists to today's perceived "clean green" landscape, narratives distinguishing timeless nature from human culture have influenced policy-making in multiple ways. Focusing specifically on understandings of the conservation lands now listed by UNESCO as Te Wāhipounamu South-West World Heritage Area, I trace the origins and evolution of three dominant narrative strands -world heritage, national parks, and Ngāi Tahu cultural significance. Using post-colonial understandings of conservation as cultural colonization, I consider how the pristine narrative obscured Ngāi Tahu understandings of the area. I explore how the Ngāi Tahu Claims Settlement Act 1998 has begun to shift place-meanings by altering power-geometries between storytellers. Participant-observation in Department of Conservation visitor centres, however, illustrates that legislated stories and storytelling processes are expressed differently in representations of land in specific locations.

It is well attested that wherever people
gather, acrobats, poets, musicians, dancers,
and tricksters also appear and perform.
Although street performers can be found
throughout the entire world, they are curiously
shunned in New York City, while
Plovidiv, Bulgaria in March 2015 decided to
follow other European cities in having auditions
or qualifiers for performers in public
places. This research adds to scholarship on
performance art as a beneficial element in
developing a sense of place in urban environments,
particularly pedestrian malls. A
hundred surveys were collected from Promenade
visitors to highlight these connections
in a case study of street performance on the
Third Street Promenade in Santa Monica,
California. The study argues the presence of
street performers are seen by the majority
as a beneficial element in a pedestrian mall,
resulting in the creation of a sense of place
that enhances the attraction, desirability and
hence success within a pedestrian mall.

Sono passati ormai più di dieci anni da quando sono stati avviati i primi Distretti come strumento di valorizzazione del commercio. I tempi, la dimensione quantitativa e qualitativa del fenomeno sono ormai tutti fattori che fanno pensare che il Distretto del commercio, da pratica socio-economico-culturale su base territoriale, sia diventata un elemento di politica attiva per il commercio di vicinato che vede coinvolte regioni, pubbliche amministrazioni, imprese, associazioni e altri soggetti locali.

Il volume illustra il fenomeno dei Distretti del commercio - con particolare riferimento all'esperienza regionale veneta - non solo evidenziando gli aspetti positivi e negativi che lo hanno qualificato, ma sottolineando anche la loro potenzialità per una strategia di uscita dalla crisi dovuta al Covid-19.

Di fronte alla necessità futura di ripartire da una prossimità di relazioni - attiva e non inerte - il Distretto rappresenta uno strumento per organizzare e accompagnare interventi di sistema per la ripresa, per promuovere le risorse del territorio, per riportare la fiducia esercitando la responsabilità del fare comune, per dare una risposta alla domanda di sviluppo che sale dal basso e un riconoscimento del ruolo svolto dagli attori locali.

Ciò significa, però, affrontare un "cambio di passo" che faccia evolvere il Distretto del commercio in un Distretto per l'innovazione e lo sviluppo locale.

This paper aims to provide a brief overview on urban public space development in global context as well as in Japan with a focus on their livability aspect, and the role of public-private partnership (PPP). First, it introduces urban livability concept and trend, the role of public space as a key enabler and drive, and common types of public place. The quest for urban livability has become a trend worldwide. Today, instead of economic development, cities around the world increasingly compete on the basis of livability, among some other emergent factors. A wide range of activities happening in many public spaces show that the city has much to offer in terms of public life, liveliness, equality, spontaneity, creativity, temporality and overall livability. Traditionally, the image of urban public space comes in the form of squares, streets, plazas, parks, open spaces, playgrounds, beaches, riverbanks, waterfront promenades, and other public facilities. Local authority is often perceived to be responsible to provide them to the citizens as part of the city's social welfare. However, as cities grow and expand, their local governments usually face with increasing financial constraints to fund for the planning, design, implementation, management and maintenance of public infrastructure, including public space. So they either fund only prioritized projects, or seek for other complementary resources such as from private sector. New York City has initiated and shown the world the concept of incentive zoning (aka bonus zoning) in late 1960s, whereby the local authority may grant additional development capacity in exchange for the developer's provision of a public benefit or amenity as specified in the local ordinances. Incentive zoning is a form of and contributes to PPP. It provides a flexible, performance-based tool that replaces harsh control with attractive incentives for a smarter urban and economic development. This valuable tool helps develop privately owned public spaces (POPS), which remain located in the private property but must be publicly accessible and usable by all members of the public at any time. POPS can come in the same form of the conventional (such as urban square, park or plaza). But oftentimes, they are expected to come in complementary forms such as atrium, courtyard, forecourt, sky garden, pedestrian mall, underground shopping corridors, etc. However, some stakeholders have shown their concerns, that POP resulted from incentive zoning may be just 'pseudo-public' and may not be fully public. They may cause unwanted social exclusion, " trap " of consumerism, or unexpected restrictive security measures. In Japanese context, the Western concept of " public " and " private " interestingly did not exist in Japanese traditional society and culture. People lived a rather " public " life, city planning or zoning regulations were vague, and urban spaces were mixed use and defined by the temporal events that take place therein rather than by specific physical boundaries. However, the Western concept of public space has gained dominance in Japan today. Japan also adopted incentive zoning tools and utilized PPP schemes widely. As a result, POPS have thrived in many Japanese cities in distinctive ways. Through the case studies of several new urban districts in different cities within Tokyo Greater Area (or Tokyo Capital Region), the paper demonstrates and concludes that a combination of conventional public space and complementary POPS benefits all parties (win-win) including residents, if jointly managed well. The PPP instrument can substantially help solve local governments' financing problem towards financial sustainability. Ultimately, this kind of approach in the planning, design, implementation and management of livable urban public space of both types paves way towards more livable and sustainable cities in the future.

This article explores Palestinians' place-making in Jerusalem under the constant threat of displacement and dispossession. I center my focus on Kufr Aqab, a neighborhood that was cut off from Jerusalem by the construction of Wall in 2003 while remaining inside the borders of the city's municipality. After 1967 Israeli occupation of the West Bank and the Gaza Strip, the borders of Jerusalem's municipality expanded and Kufr Aqab village was annexed as a neighborhood inside Jerusalem's newly formed borders. Since its occupation, a matrix of displacement and disposses-sion consisting of policies and practices was put in place to oversee the domination of the Palestinians in the city. In my research, I explore the possibilities of reconceptualizing Palestinian urban spaces and place-making in Kufr Aqab between the gap in settler-colonial gov-ernance and the Palestinian future of no-state. I show how the urban space emulates a camp-like space that I describe as an "affective infrastructure" of a camp. Being on the Israeli settler-colonial frontier, I argue that Kufr Aqab dwellers are kept suspended in time in a liminal zone between the ghost of displaceability from the Israeli state and in a deep suspension of no-state. I conclude by suggesting that the case of Kufr Aqab speaks to the space-making, displacement, and statelessness of the present as well as futurity of the West Bank (and East Jerusalem), where the future of the Palestinian state is far from being seen in the horizon and debilitated sovereignty is exercised on a limited scale in fragmented territories of governance.

https://www.youtube.com/watch?v=pJfpa9vv9pg

This presentation considers how the phenomenological work of Maurice Merleau-Ponty (1908–1961) contributes to an understanding of architecture and place experience via his emphasis on the lived body. The focus is on architect Thomas Thiis-Evensen's " architectural archetypes " and architectural theorist Bill Hillier's " space syntax. " The presentation highlights three claims: First, that Thiis-Evensen provides a language for locating unself-conscious, visceral aspects of buildings & architectural meaning (Merleau-Ponty's perception and phenomenal field); second, that Hilllier illustrates how the spatiality of place—i.e., pathway configuration— supports or inhibits particular actions & routines of lived bodies as they come together or remain apart spatially (Merleau-Ponty's body-subject and intercorporeality); and, third, that both Thiis-Evensen & Hillier illustrate ways via architecture and place whereby pre-reflective bodily awareness and actions play an important role in the lifeworld (Merleau-Ponty's emphasis on the lived body as intentional but pre-reflective agent).

This book,  A Geography of the Lifeworld (1979), focuses on a wide-ranging phenomenon labelled everyday environmental experience—the sum total of peoples’ firsthand involvements with the geographical world in which they live. By geographical world is meant the everyday places, spaces, and environments in which people find themselves. The source of experiential descriptions was environmental experience groups, small focus groups of students and other interested participants who were willing to meet weekly to examine in their own daily experience such themes as movement patterns, emotions relating to place, the nature of noticing and attention, the meaning of home and at-homeness, places for things, deciding where to go when, and so forth.

Through a phenomenological explication of the more than 1,500 personal observations offered in these environmental experience groups, the study identifies three overarching themes—movement, rest, and encounter—that appear to mark the essential core of everyday environmental experience.

The section on movement examines the habitual nature of everyday environmental behaviors and argues, after French phenomenologist Maurice Merleau-Ponty (1962), that the lived foundation of these behaviors is the body as preconscious but intelligent subject. The section on rest explores people’s attachment to place and gives particular attention to at-homeness and positive affective relationships with places and environments.

The book’s final section on encounter considers the multifaced ways in which people make attentive contact with their world. Group observations indicate that this range of awareness extends from obliviousness and minimal attentive contact with the world at hand through watching, noticing, and more intense kinds of encounter where the experiencer, at least metaphorically, feels a sense of “merging” with some aspect of world.

The last section of the book examines lived relationships and interconnections among movement, rest, and encounter and argues that their threefold structure offers one simple but integrated way to envision human environmental experience conceptually and to think about design and policy implications practically.

One of the strategies, which is increasingly applied by cities across the world in an ever-lasting desire to promote and capitalise on their competitive identity, is the hosting of large-scale sporting and cultural events. In the attempt to become an ‘eventful city’, many destinations have progressed from a random and eclectic choice of events toward the development of portfolios of events. A well-planned event portfolio can be viewed as a strategic tool to deliver a range of benefits to the host city. These include economic and social-cultural positive outcomes as well as an array of different leveraging opportunities.
Despite the increasing popularity of an event portfolio strategy among city event planners, a lack of developed theoretical concepts and empirical research into the nature of portfolio design exists. To address this knowledge gap, a qualitative case study has been conducted in the city of Auckland, New Zealand. The primary aim of the research has been to explore the way in which the city context and objectives shape the strategic nature of a portfolio of major events in a large urban area. The research methods have encompassed semi-structured interviews with event planners from Auckland city council and relevant council controlled organisations and the analysis of event-related city documentation.
This paper provides an overview of the preliminary findings of the research. In order to clarify and describe the complexity of the city of Auckland’s portfolio of major events, a strategic portfolio design framework has been proposed. The paper outlines and discusses the key dimensions in regard to this framework. In particular, it will address specific aspects related to the strategic nature of the event portfolio in the city, including identifying its compositional structure, event roles, portfolio synergy and key factors that influence portfolio planning in Auckland.

This paper is concerned with processes of place making (Benson, 2014) and belonging among middle
class residents in Santiago de Chile, and particularly focuses on the ways in which neighborhood groups
seek to receive heritage status for their areas of residence, as a way to contest and impede the demolition
of houses in order to build high-rise buildings. I particularly focus on the tensions inherent in reconciling
a critical view of neoliberal residential politics with a securing of their individual or family class position.
I bring together debates and evidence about social and spatial boundary making with analysis of strategies
of reproduction of class position.  The paper focuses on intra-class symbolic boundaries in place making
or neighborhood making, and the local politics and practices involved, by addressing the relationship of
the middle classes to territory and their place in the contemporary city (Andreotti, Le Galès and Moreno-
Fuentes, 2014; Bacqué et al, 2015; Bridge, Butler and Lees, 2012; Brown-Saracino, 2009; Butler and
Robson, 2003; Low, 2013; Savage, Bagnall and Longhurst, 2005; Zukin, 2010). I discuss data obtained
from research in five inner-city urban Santiago neighbourhoods that had been, or were in the process of
being declared “heritage neighborhoods” by Chile’s Council for National Monuments (CMN, in the
Spanish acronym). The research blends data drawn from a mix of sources: in depth interviews, non--
participant observation, content analysis of CMN legal texts, real estate advertisements, websites of
organizations of local residents, and copies of the files prepared by some neighborhood groups for
submission to the CMN in order to seek heritage status.

[FLYER ONLY: SORRY, THEY DON'T HAVE AN OPEN ACCESS POLICY] How would the humanities change if we grappled with the ways in which digital and virtual places are designed, experienced, and critiqued? In Rethinking Virtual Places, Erik Malcolm Champion draws from the fields of computational sciences and other place-related disciplines to argue for a more central role for virtual space in the humanities. For instance, recent developments in neuroscience could improve our understanding of how people experience, store, and recollect place-related encounters. Similarly, game mechanics using virtual place design might make digital environments more engaging and learning content more powerful and salient. In addition, Champion provides a brief introduction to new and emerging software and devices and explains how they help, hinder, or replace our traditional means of designing and exploring places. Perfect for humanities scholars fascinated by the potential of virtual space, Rethinking Virtual Places challenges both traditional and recent evaluation methods to address the complicated problem of understanding how people evaluate and engage with the notion of place.

This article explores community responses to ‘Golden Head’, a guerrilla artwork that was installed covertly in a Melbourne park in early 2020 by unknown persons. Focusing on local residents’ reactions to this mysterious, unsanctioned statue, we document an ongoing array of playful speculations, creative responses and imaginative interactions that unfolded both in situ and via social media. We argue that in eliciting an outpouring of jokes, memes, stories, photographs and other creative rejoinders, this enigmatic object has strengthened and renewed a collective sense of place. We also consider Golden Head’s reception in light of recent challenges to the legitimacy of many traditional memorial statues, and as a response to the increasingly over-regulated city. We conclude that this outpouring of imaginative local reactions to Golden Head constitutes a playful form of collective place-making that implicitly critiques the grandiose ambitions of official statues and affirms the oft-neglected ludic potential of urban space.

This paper examines street performance management models in the Cincinnati area and compares them to experiences performers have had in New Orleans and Canada. The paper is the result of interviews with different performers and seeks to find a solution to creating a successful street performance scene in the city.  Anyone interested in place making or city environment will find this a helpful resource.

LIFE TAKES PLACE argues that, even in our mobile, hypermodern world, human life is impossible without place. Seamon asks the question: Why does life take place? He draws on examples of specific places and place experiences to understand place more broadly. Advocating for a holistic way of understanding that he calls “synergistic relationality,” he defines places as spatial fields that gather, activate, sustain, identify, and interconnect things, human beings, experiences, meanings, and events.
  Recognizing that places always change over time, Seamon examines their processual dimension by identifying six generative processes that he labels interaction, identity, release, realization, intensification, and creation. Drawing on practical examples from architecture, planning, and urban design, he argues that an understanding of these six place processes might contribute to a more rigorous place making that produces robust places and propels vibrant environmental experiences.
  Written in an accessible style that will appeal to academics, practitioners, and the lay public, this book is a significant contribution to the growing research literature in “place and place-making studies.”

This article is now online at the website of the journal THE SIDE VIEW:

https://thesideview.co/journal/finding-the-center/

In this article, I highlight American architect Christopher Alexander’s concept of “center,” which offers one way to identify the crux of his work, whether thinking or designing. Most broadly, a center is any spatial concentration or organized focus of more intense pattern or activity—for example, an intricate carpet pattern, an elegant entryway, a handsome arcade, a gracious building, or an animated plaza full of users finding pleasure in the place. Whatever its specific nature and scale, a center is a region of concentrated physical and experiential order that provides for an intense spatial and lived relatedness among things, people, situations, and events. A center is “an organized zone of space … which, because of its internal coherence, and because of its relation to context … forms a local zone of relative centeredness with respect to the other parts of space." A pivotal question for Alexander is how an understanding of centers might help architects to conceive of and actualize vigorous places and environments that sustain thriving human life.

Observations about the reasons why governments typically become concerned about the state of their national image; some remarks about the various image challenges which countries can face; thoughts about the central role played by cultural relations and cultural activities in shaping international perceptions of places; the role played by political and other kinds of leaders.

In 2002, the year it was published, The Environmentalism of the Poor was one of the first books examining in a
multidisciplinary perspective three parallel environmental movements around the world. Eleven years later, we
re-examine these movements – the Cult ofWilderness, the Gospel of Eco-Efficiency and the Mantra of Environmental
Justice, – focusing on the increased visibility of struggles representing Environmental Justice and The
Environmentalism of the Poor. Even if they are often disconnected from an organizational standpoint, glocal
manifestations of resistance have emerged since the 1990s. Today, environmental movements assert common
values related to place, identity, and culture. Activists' concepts such as ecological debt, environmental justice,
environmental liabilities, land grabbing, environmental gentrification, corporate accountability, climate justice,
food sovereignty, or economic degrowth are the keywords of the networks of the global Environmental Justice
movement. At the same time, such concepts support the rural and urban movements that remake place formarginalized
groups, re-assert traditional practices, and protect territory from contamination, land appropriation,
and real estate speculation. Some possibilities exist for cooperation between Environmental Justice and the
other varieties of environmentalism. Here, comparative research can help unravel the use of valuation languages
different from “green” economic growth or sustainable development

Salama, A. M. and Wilkinson, W. (eds.) (2007). Design Studio Pedagogy: Horizons for the Future. Urban International Press, Gateshead, United Kingdom. ISBN # 1-872811-09-04.

This groundbreaking book is a new comprehensive round of debate developed in response to the lack of research on design pedagogy. It provides thoughts, ideas, and experiments of design educators of different generations, different academic backgrounds, who are teaching and conducting research in different cultural contexts. It probes future universal visions within which the needs of future shapers of the built environment can be conceptualized and the design pedagogy that satisfies those needs can be debated. Addressing academics, practitioners, graduate students, and those who make decisions about the educational system over twenty contributors remarkably introduce analytical reflections on their positions and experience. Two invited contributions of N. John Habraken and Henry Sanoff offer visionary thoughts on their outstanding experience in design pedagogy and research.Structured in five chapters, this book introduces theoretical perspectives on design pedagogy and outlines a number of thematic issues that pertain to critical thinking and decision making; cognitive and teaching/learning styles; community, place, and service learning; and the application of digital technologies in studio teaching practices, all articulated in a conscious endeavor toward the betterment of the built environment.

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Review by Michael J. Crosbie
http://archnet.org/publications/4957

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Review by Halina Dunin-Woyseth
http://archnet.org/publications/5094

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Review by Research-Design Connections
http://researchdesignconnections.com/pub/design-studio-pedagogy-horizons-future

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Review by Julia W. Robinson
http://archnet.org/publications/5095

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Review by Nikos Salingaros http://architectureurbanism.blogspot.co.uk/2007/09/salingaros-review-of-design-studio.html

This dissertation investigates how collaboration between artists and communities affects the creation of public space. It is based on evidence from case studies of the creation of urban parks in Glasgow and Birmingham.
The dissertation is arranged in seven chapters. Chapter 1 sets the aim and objectives focussed in analysis of government policy and guidance on design, art and public participation in shaping public space and examination of the theory and practice of artists working with communities. Chapter 2 is a
critical review of existing literature on public art, communities and place making, government policy on public space and multi-disciplinary approaches to creating public space.
Chapter 3 outlines the definitions of public space, artist, local people and communities and built environment professionals used in the dissertation and identifies five research questions. Chapter 4 explains the rationale for and design of the multiple case study and qualitative research methodology.
Chapter 5 is a structured series of observations comparing and contrasting the approach and experience in each case study. In Chapter 6 the evidence of the case studies is analysed and interpreted. Five key issues influencing the creation of public space and collaboration between artists and communities are discussed.
The final chapter concludes that the collaboration of artists with communities can make a powerful contribution to the creation of public space through a socially engaged art practice in which communities are active agents in shaping public space.

In light of Cassey's statement that place is the most fundamental form of embodied experience and the site of powerful fusion of self/body, space and time (1996: 9), I have analysed his phenomenological account of place, site and space through the concepts of place of memory („lieux de memoire” – Pierre Nora 1999), non-place (Auge 1992) and nostalgia (Boym 2001). Thus I connected the concept of place with the notion of home which is typically idealized as a topographic wholeness in which the allienated self seeks comfort. Nostalgia will be analysed here in terms of belonging and longing for a home that no longer exists or has never existed. When a topos incites a sense of belonging, it is possibly a „home” profusing in places of memory (Nora 1999). When it does not arouse a sense of belonging, it might be a non-place (Auge), a mere site of transience in which our body seems displaced. For illustration, I have chosen Tarkovsky's movie „Nostalghia” (1983) in which the main character's feeling of displacement and longing is portrayed along with his  sense of kinship with the mad man with whom he shares the feeling of alienation. I consider this movie emblematic for the trope of nostalgia and place-boundness as theorized by Cassey and Boym.

The chapter analyses an interesting case of heritage preservation which
led to creating one of the most unique and vibrant urban, public and creative spaces in the city of Doha, the Capital of the State of Qatar. The chapter focuses on the multi-layered urban condition that was generated in the city as a result of an unprecedented integration between positive public and green spaces, rehabilitated architectural heritage and public art. This trilogy as manifested in the urban fabric of Doha,
provided the city with a new interpretation of the holistic role of the public space as
magnet for people’s gathering and existential expressions if planned not as a mere
recreational space but as an opportunity to exhibit the sophistication of the community. The chapter concludes with a framework constructs a vision for public spaces in Qatar and other Gulf cities which are in dire need to revisit the concept of public spaces, urban diversity, assembling identity, particularly in such a turmoil times of uncertainty resulted from tough economic pressures due to the decreased oil prices and the COVID-19 unfolding consequences.