After several disruptive weeks – pushing child friendly cities and play in media and at events I am back on the PhD research.
The feedback form the Assessor was to use Stevens work as a basis rather than Lefebvre. This led to an revised PhD proposal and contemplation about new research questions.
Project Proposal can be accessed here: PhD Proposal 23 March2017
Maciocco, G. & Tagliagambe, S. (2009). People and Space, New Forms of Interaction in the City Project. Urban and Landscape Perspectives 5; Springer. doi 10.1007/978-1-4020-9879-6_1
The City Project: intermediate Space and Symbol (p.164)
“The loss of the differential quality the city has suffered in its drift towards the “generic city”, a phenomenon of reduction of diversity, standardisation of life and the space produced by shopping, which has become “a primary way of urban life”, “the apotheosis of modernisation” (Chung 2001), the foolish outlet of the doctrine of form (of the city) that follows the (consumer) function in the same way throughout the world, the “unexpected revenge of functionalism” (Chung, 2001).
Chung C. J., Inaba J., Koolhaas R., Tsung Leong S. (2001) Harvard Design School Guide to Shopping, Taschen, Cologne.
Linked to the “generic city” is the process of “thematisation” of the city, the transformation of the city as a theme-park, an experience of places that is also the model of the place of pleasure (Jacobs 1998), a model that requires a glance turning everything into a show, that tends to blend in with its surroundings (Caillois, 1984) and that produces an absence of reference point, like the space of a labyrinth, spectacular and supervised, making the contemporary city uniform (Bataille 1970). But it is a desired labyrinth, that represents a complete mosaic of different types of landscape that make up, indeed, the “dark object of desire” of society (Vos and Meekes 1999).
Bataille G. (1970). Le labyrinthe. In: Bataille G. (ed) Oeuvres complètes, Gallimard, Paris. Caillois R. (1984). Mimicry and legendary. Psychastenia, October n 31.
Vos W., Meekes H. (1999) Trends in European cultural landscape development: perspectives for a sustainable future. Landscape and Urban Planning 46 (1-3).
The representations, images, our society creates for itself of landscapes as “desired products” express detachment from reality. In this detachment between reality and representation lies the contemporary incapacity to “represent” the city , to “see it”. What is projected in images aberrant to the point of losing their reference point is nothing more, probably, than the loss of the reference point as such, a loss affecting language, the same loss that affects the inhabitant when he tries to imagine the city (Soutif, 1994). If we do not go to meet the real, in the lived in space, unsettling pairs of opposites like real city/simulacrum city and citizen/non- citizen (de Azua 2003) will become established, where the figure of the “non-citizen” will correspond to the loss of the urban collective conscience and, with it, the loss of the city as a conceptual unit.
Soutif D. (1994) Topes et Tropes Le plan de Ville et la Référence. In: Dethier J., Guiheux A. (eds) La ville Art et architecture en Europe 1870- 1993, Centre Georges Pompidou, Paris.
de Azua F. (2003) La necessidad y el deseo. Sileno nn. 14-15, pp. 13-21
“The space of the mind that gradually develops as the subject understands, in his acting and often after he has acted, the sense of this actions and those of others and that, in this sense, opens up to the world of relations that feeds the collective conscience.” (p.165)
–> Is the post capitalist city a place where symbols are exchanged? “The expressive strength of the symbol is essential for collective gaining of awareness of the elements that preside over our spatial life. ” (p.165)
The symbol represents, always, “something else”, it refers to something different and never uncodifiable. (p.166)
“A symbol can be understood as a “bridge cast” between the universe of visible phenomena and the invisible, between reality and possible worlds.” (p. 167) –> play is a possibility and create opportunities for reaching out to a different world!
“The active, collective glance at the city makes us feel we belong to a whole, it reveals to us the contemporary public space.” p.13
Brodsky J. (1995) On Grief and Reason: Essays, Farrar straus Giroux, New York.
“The more substantial an individual’s aesthetic experience is, the sounder his taste, the sharper his moral focus, the freer- though not necessarily the happier- he is (Brodsky 1995, pp. 49-50).