Academic literature on the topic 'Urban aestheticization'

The aestheticization of organizational space is a growing phenomenon with organizations carefully designing the aesthetic engagement in space to invoke specific values and behavior. Simultaneously, however, the traditional workspace is disappearing as work is performed increasingly in multiply-located, hybrid spaces combining corporate, domestic and public spaces. This paper seeks to understand the aestheticization of hybrid spaces by theoretically drawing on the notion of atmosphere as proposed by the philosopher Gernot Boehme. By ethnographically exploring how an urban film festival creates its unique atmosphere, we identify three intertwined aesthetic practices that underpin the aestheticization of hybrid space: the interrelation of different aesthetic codes and expressions, the processual guidance of the aesthetic experience, and the provision of a centre of experience. We discuss how ambiguities, multiplicities and diversities may become a resource when aestheticizing hybrid space, reminding us to be critical even when atmospheres emerge beyond the careful aesthetic design of space.

The focus of this article is focused on the study of peculiarities of the contemporary aestheticization of urban space as a product of emotional capitalism. Noted that the concepts "society experiences" and "experience economy" fixed vector of cultural changes of modern society, and suggest new theoretical trajectory of sociological research. Control for the "experience" in this case can be considered a new form of public influence in which not last role is played by the mass media, which is a kind of mediator for the active promotion of a variety of emotions, first and foremost sensual pleasure. Pointed out that the aestheticization of the contemporary urban space is connected with the logic of the functioning of emotional capitalism. The modern city is forced to form their own "alphabet of feelings", which prescribes rules for their feelings in different situations. Entertainment in the city acquires the features of a universal model, it is a particular code value in U. Eco, that is, a symbolic system that can reveal the contents of the message depending on the purpose and conditions of the functioning of the spectacle. Life in a modern city full of wealth of their own unrest, and the aestheticization of urban space is associated with replication "markets experiences" that focus on the commercialization of human feelings. The emotional richness of urban design has become a part of an overall program of total consumption. The theatricality, iconization and glamor can be considered as the main strategy "emotionalization" of urban space that aims at the reproduction of the effects of the "experience economy". Stressed that the idea glamorizes urban space can be traced in the concepts of the theoreticians of the "creative city", appealing to psychologically and design analysis of the urban environment, and the militarization of urban space through the creation of militaristic icons that form the therapeutically-emotional space. Respectively iconic images serve as points of reference, the individual ascribes to them a special importance as images that represent something significant for social life.

How are we to conceptualize the experiences of mobile music listeners as they move through the city listening to a private soundtrack? The phenomenon has been described as an aestheticization of urban space (Bull, 2002, 2005, 2007; Hosokawa 1984 a.o.), and this perspective seems to focus on the listeners’ wish to alter and manipulate the impression of the surroundings. This article, however, explores and re-thinks how the terms aestheticization and aesthetic experience may be used to describe the specific relationship between the listener and the surroundings, which is established through the act of listening. To support this focus and claim I refer amongst others to Morten Kyndrup’s thoughts on the aesthetic relation (Kyndrup, 2008a) and Mikel Dufrenne’s theory on the aesthetic object as a perceived object (Dufrenne, 1973, 2001).

ABSTRACT:Between 1868 and 1950, when meat production facilities were expelled from the city of Buenos Aires, Argentina became one of the largest producers of meat in the world. Beginning in 1945, bringing the city into the countryside and the countryside into the city, agriculture was instrumentalized as an urban function. Revealing the convergence of two usually separated movements – hygenics and eugenics – the meat industry in the province of Buenos Aires created a scientifically supported arena for the biopolitical appropriation of human and non-human resources, bearing out a unified ideology of medicalization, aestheticization, urbanization and productivity.

Purpose The purpose of this paper is to analyze the mechanisms involved in the progressive integration of marginal and peripheral urban areas, located close to established tourist destinations, into the visited tourism perimeter, and the interplay of the supporting public and private actors. It focusses on the intertwining processes of commercial gentrification, heritagization and aestheticization of former “ordinary” or marginal areas as tools for and indications of their tourism development. It explores how the metropolitan tourism geography is progressively redesigned. Design/methodology/approach Following a comprehensive literature analysis, the Saint-Ouen flea market was selected as the object of study. The methodology is based on extensive in situ observations, a systematic analysis of the press and a corpus of tourist guides and several in-depth interviews with local public and private stakeholders. Findings This paper shows that combined public (Parisian urban and tourism stakeholders) and private interests led to the integration in the tourism perimeter of a space that was once on the margins of the tourism and metropolitan area. It highlights the mechanisms of this integration and the link between touristification, gentrification, aestheticization and artification. It was found that private investors and political decision makers regard Saint-Ouen flea market as a major opportunity for tourism and real estate development, which leads to some contradictions regarding heritage protection. Finally, it shows that market traders opposed the evolution of a commercial place into a place of symbolic consumption. At another level, it shows the stakes of tourism diversification in a metropolitan tourism destination that is characterized by overtourism. Research limitations/implications More studies are needed to identify not only the potential of flea markets to diversify tourist areas and practices, but also any potential resistance. The consequences on metropolitan tourism can be the subject of additional investigations: can this tourism diversification reduce overtourism in the centre, or is it only a diversification that functions as an additional driver of attractiveness? This research opens new perspectives on the modes of diversification (spatial and experiential) of metropolitan tourism as well as on the role that commercial changes play in these evolutions. It also makes it possible to question the modes of engagement of investors and traders in tourism. Originality/value This is an in-depth analysis of the case of Saint-Ouen flea market. The issues raised herein are applicable to similar peripheral urban areas, flea markets especially, that are rarely studied on the tourism-aestheticization-gentrification nexus. The analysis also shows the diversification of places and imaginaries of metropolitan tourism.

This article focuses on Fascist artist Mario Sironi’s urban landscapes as a site of modernity and its contradictions. With their gloomy buildings and deserted streets, Sironi’s landscapes highlight two of modernity's woes: The periferia of the “liberal” city and the fear for its inhabitants’ degeneration and sterility. In his “Il discorso dell’Ascensione,” Mussolini openly accuses industrial urbanism of its sterilizing effect on the Italian race, thus, jeopardizing his imperial ambitions. By giving an aesthetic form to the Regime’s fears, Sironi reaches two goals: The aestheticization of fascist politics, as described by Walter Benjamin, and the creation of the Soreal social myth that would ultimately propel Italians toward the resolution of their presumed problems. Moreover, the article suggests a reading of Sironi’s murals as an integral part of the urban landscapes’ reading and interpretation. The murals’ fascist imperial rhetoric would lose its referent should the Italian race succumb to physical degeneration and sterility.

In the period from 1948 to 1970 urban housing architecture in Yugoslavia had a distinctly experimental character as it strived intensively towards research and establishment of new architectural patterns and values that would mark the period of economic growth of the country. In conditions of mass housing construction, initiated by the devastated urban housing fund after the Second World War, significant influx of population to towns and the state directed its socialist aspirations at alloting every family acceptable living space. The period of the so-called ?directed housing construction?, whose imperative was to establish the limits of existential minimum in collective housing, maximal space ?packing? and optimal functionality of flats, at the same time represents the most significant period in the development of housing architecture in Yugoslavia. The architects focused their interests in housing in mainly three directions: a) the creation and application of new prefabrication systems, b) innovative application of modernistic patterns in aestheticization of architecture and c) experimenting with space units which will enable a higher level of privacy in high-density housing conditions. The first direction of research emerged in the context of post-war housing construction of a wide scope, which encouraged the advance of technological research in areas of prefabrication and practical application of achieved results on the whole territory of Yugoslavia. The second direction dealt with architectural planning which was strictly subordinated to social and ideological sphere with domineering socialist monumentalism and artistic and sculptural approach to architecture. The third was related to experimental tendency with new urban housing patterns which aimed to search and find more pragmatic, humane solutions within mass high-density housing constructions which were the first to utilize and show examples of ?double-tract? buildings. These were primarily realized in Serbia, as continuation of tendencies first expressed in activities of ?Belgrade School of Housing?.

Flottant dans un va-et-vient entre l’architecture et l’urbanisme traditionnel du pays et celui moderniste, importé des pays occidentaux, Téhéran est souvent reconnue comme une ville désordonnée, sans identité, bruyante, aux paysages insignifiants. La question que se posent alors les acteurs urbains est comment en faire une ville plus belle, plus agréable, plus appréciée par les habitants ? Depuis les années postrévolutionnaires (1979) l’Agence d’Embellissement de la Ville de Téhéran, instance municipale, s’est intéressée à répondre à ce questionnement par des initiatives visant à esthétiser la capitale iranienne par l’injection de couleurs, de lumières, de monuments, de végétation, de constructions. Toutefois, la diversité des interventions et des approches adoptées et la dissemblance entre elles et avec l’entité urbaine de la ville, nous laissent formuler l’hypothèse que pour la gestion urbaine téhéranaise, l’esthétisation de la ville consiste à l’enchanter, à y jeter une touche de beauté, de magie, de charme. Mais finalement, ne serait-ce pas plutôt question de désenchantement à Téhéran ? Sur une période de quarante ans débutant en 1979 avec un appui sur la dernière décade, la thèse s’est intéressée à une sélection d’interventions municipales revendiquant l’esthétisation urbaine, partant du constat que les critères d’esthétisation urbaine à Téhéran tendent vers une approche décorative et uniquement objective. L’analyse des huit cas étudiés se base sur une réflexion théorique autour de l’esthétisation urbaine et pointe la relation sensible de l’usager avec l’espace esthétisé. Ainsi, une méthode d’analyse esthétique qui met en avant les valeurs produites par l’intervention urbaine que nous reconnaissons d’esthétisation par l’expérience (se distinguant d’autres modes d’esthétisation urbaine) a été développée, rapprochant la « théorie de la valuation » du philosophe pragmatiste John Dewey avec la locution « processus d’esthétisation. » Selon une volonté d’améliorer qualitativement l’espace urbain, en mobilisant plusieurs dispositifs, l’esthétisation urbaine par l’expérience qui est un processus, contribue à l’acquisition d’une expérience esthétique par la fabrication de valeur
Floating in a back and forth between the architecture and the traditional urbanism of the country and the modernist, imported from Western countries, Tehran is often recognized as an identity-less disordered noisy city, with insignificant landscapes. The question then asked by urban actors is how to make the city more beautiful, more pleasant, more appreciated by the inhabitants? Since the post-revolutionary years (1979), the Beautification Agency of the City of Tehran, a municipal body, has been interested in answering this questioning with initiatives aimed at aestheticizing the Iranian capital by injecting colors, lights, monuments, vegetation, buildings. However, the diversity of interventions and approaches adopted and the dissimilarity between them and with the urban entity of the city, let us formulate the hypothesis that for Tehran urban management, the aestheticization of the city consists in enchanting it, to throw a touch of beauty, magic, charm. But finally, wouldn’t it be more a question of disenchantment in Tehran?Over a period of forty years beginning in 1979 with support over the last decade, the thesis focused on a selection of municipal interventions claiming urban aesthetics, based on the observation that the criteria of urban aestheticization in Tehran tend towards a decorative and objective approach. The analysis of the eight case studies is based on a theoretical reflection around the urban aestheticization and points the sensitive relationship of the user with the aestheticized space. Thus, a method of aesthetic analysis that highlights the values produced by the urban intervention that we recognize as aestheticization by experience (distinguished from other modes of urban aestheticization) has been developed, bringing the “theory of the evaluation” of the pragmatist philosopher John Dewey with the locution "process of aestheticization”. According to a desire to improve qualitatively the urban space, by mobilizing several urban devices, aestheticization through experience, which is a process, contributes to the acquisition of an aesthetic experience through the production of value

The concepts of power, aesthetics, and fear beyond the boundaries of art reveals tangible and intangible existence through urban space, and public space stands as the centre of attention due to its transforming meaning and spatiality reflecting the global-local thresholds of economic, political, and social compositions of different time periods. The research aims to unfold the layers of ‘power' that are capable of manifesting through built environment using state apparatuses, that is, urban planning, land-use changes, architecture, securitization, and pacification of symbolic and socially constructed meanings and connotations of particular urban spaces, each of which upholds its own aesthetic formation that is unstable, sensational, and perceptual. Turkey is chosen for its rich and yet complex social and political history as the case concentrating on Kızılay Square in Ankara due to its potential of reflecting a rich historical passage starting with a modernisation implication of a new capital to tyranny of forms of institutional, political, and representational power at display.

The chapter focuses on the design and decoration of Complexo do Alemão cable car stations and interviews of architects and state officials involved with the project. It also considers the photographic project Inside Out Providência and two videos in order to explore some of the contradictions and conflicts that lie behind the Complexo do Alemão and Wonder Port projects. The chapter discusses the ways cable car stations attempt to reframe the relationship between space, tourism, and the process of aestheticization of favelas. It considers the centrality of favelas in the marketing and branding of the city as a strategy to attract external investors and tourists. It also demonstrates how urban interventions are part of a process of commodification and social/racial cleansing.

This chapter highlights the relationship between race, diversity, belonging, and urban development in the historical devaluation of H Street as a Black space, and its revaluation as an emerging multicultural neighborhood. In light of H Street’s violent past, the narrative describing its history reinvents itself in order to write the violent times away and repurpose the neighborhood for a new market and a new time. The chapter also focuses on local programs with intended race-neutral policies that have racial consequences. The chapter further explores how “diversity” is institutionalized as a valuable social commodity to market and constitutes the political economy of the corridor. In other words, the aestheticization of blackness and space contribute to the structuring of H Street as both universal and exclusive. Corporate brands, as well as local public/private partnership organizations, strategically incorporated “diversity” as part of their official language to justify their introduction to the space – signaling affective cohesion with the neighborhood.