Suchergebnisse

Cover -- Half Title -- Title -- Copyright -- Dedication -- Contents -- List of Figures -- List of Tables -- Acknowledgements -- 1 Introduction -- 2 A Place for the Arts -- 3 Events and Festivals -- 4 Cultural Heritage -- 5 Cultural and Creative Quarters -- 6 Digital Cultural Spaces -- 7 Fashion Spaces -- 8 Graffiti and Street Art -- 9 Socially Engaged Practice and Cultural Mapping -- References -- Index.

Contemporary mega-events are a design and political phenomenon, encompassing all scales of design practice and serving as an exemplar of a global imaginary realised in local space. They combine placemaking with national and city branding, manifested through extravagant buildings, facilities, transport infrastructure, logos, uniforms and slogans – all of which present design challenges given their high profile and cost. This chapter considers the contemporary mega-event, specifically Olympics and EXPOs, from their historical evolution (World Fairs, Biennales) to the expansive and controversial events that punctuate the international calendar and tourist itinerary. The design of mega-events is reflected through the iconic buildings and components that make up the visual feast that these events seek to engender – from costumes, mascots and signs, to the masterplans and computer-generated visions that are employed to project the mega-event and site into the future.

This book brings together different perspectives of mega-event bidding, hosting and legacies. Their impact is considered through an international range of mega-events in terms of land use, political and socio-economic change, and the placemaking processes that accompany these area-based regeneration projects. From city-regions that have not been successful or withdrawn from mega-event selection, to contemporary Olympic, FIFA World Cup and Expo host cities whose legacy is still unfolding, to event sites whose legacy is now established, the global appeal of the mega-event is apparent from this collection. The book interrogates the mega-event phenomenon in ten countries, from North and South America, and Australia, to Western and Eastern Europe. Drawing on their historical evolution and antecedents, and following the recurrent themes of urban regeneration and resistance, the book highlights the importance of major events and festivals to the creation and marketing of place through branding and regional growth In considering a range of mega-events critically and in different national and geopolitical contexts, the book will be of interest to policy and decision-makers at local, regional, national and international levels, and will be of particular interest to professionals, scholars and students working in planning, urban studies, sport and leisure studies, and in event and festival management.

Successive policies and efforts to increase participation in a range of arts and cultural activities have tended to focus on the profile and attitude of individuals and target groups in order justify public - and therefore achieve more equitable - funding. Rationales for such intervention generally reflect the policy and political regime operating in different eras, but widening participation, increasing access and making the subsidised arts more inclusive have been perennial concerns. On the other hand, culture has also been the subject of a supply-led approach to facility provision, whether local amenity-based, civic centre or flagship, and this has also mirrored periodic growth in investment through various capital for the arts, municipal expansion, urban regeneration, European regional development and lottery programmes. Research into participation has consequently taken a macro, sociological, 'class distinction' approach, including longitudinal national surveys such as Taking Part, Target Group Index, Active People and Time Use Surveys, whilst actual provision is dealt with at the micro, amenity level in terms of its impact and catchment. This article therefore considers how this situation has evolved and the implications for cultural policy, planning and research by critiquing successive surveys of arts attendance and participation and associated arts policy initiatives, including the importance of local facilities such as arts centres, cinemas and libraries. A focus on cultural mapping approaches to accessible cultural amenities reveals important evidence for bridging the divide between cultural participation and provision.

It is over 20 years since the UK Disability Discrimination Act legislated for access in Britain's built environment and in transport services. A decade on, the Manual for Streets signalled a rebalancing of the hierarchy of movement towards the pedestrian, redressing the dominance of the car and transport engineer in ensuring effective flow of traffic. The notion of social inclusion in transport also brought into play wider consideration of how the built environment, fear of crime and other barriers conspire to restrict mobility and access to public transport. This paper critiques access in the UK's urban environment and to formal transport, including an assessment of design and planning guidance in the form of toolkits and models which have been developed in this period to assist transport and urban planners and designers in street and transport service provision. This will draw on a 6 year study of accessibility and user needs in transport with a focus on urban design and social inclusion. A street design audit approach will then be outlined, which responds to these access imperatives and seeks to join up the whole journey environment.

The industrial 'Event City', host to World Fair, sporting, cultural and ceremonial mega‐event, has been transformed in its late‐capitalist form into the 'City as Event'– from the all year round festival city to the ubiquitous 'Cities of Culture'. These self‐styled culture cities now look to the contemporary art museum and cultural district to provide a cosmopolitan edge to their promotional icons and associations, with Art now acknowledged as an 'industry'. Cities worldwide, irrespective of their indigenous culture and heritage (e.g. Guggenheim Bilbao, Rio et al.), are thus emulating the brand reinforcement witnessed in leisure and entertainment products and themed experiences, which themselves have entered the retail environment as prime urban consumption spaces. The paper critiques this evolution of the city of culture and the branded art facility in terms of their form and function, arguing that form has followed regional funding, and that culture‐led regeneration and place‐making now mirrors the product branding of Nike and Sony, vying with them for consumer and political attention through the use of star architecture and retail strategies that belie their public good/realm and cultural distinctions. The cost of these flagships and cultural strategies, the paper concludes, is borne in terms of cultural diversity and production versus consumption and mediation; in community cultural activity and amenity; and by those who do not have a stake in the gentrification process which attaches to these globalized grands projetsLa 'Ville de l'industrie de l'événement' (accueillant Exposition universelle ou méga‐événement sportif, culturel ou commémoratif) est devenue sous sa dernière forme capitaliste la 'Ville‐Evénement'– de la ville festivalière toute l'année, aux 'Villes culturelles' ubiquistes. Ces prétendues villes de culture comptent désormais sur le musée d'art contemporain et le quartier culturel pour fournir un atout cosmopolite à leurs associations et icônes promotionnelles, l'Art étant maintenant reconnu comme une 'industrie'. A travers le monde, quels que soient leurs culture et héritage locaux (ex.: Guggenheim Bilbao, Rio et autres), des villes sont donc en train d'imiter la consolidation de marque appliquée aux produits de loisirs et réalisations thématiques, lesquels ont pénétré la sphère du commerce de détail comme principal espace de consommation urbain. L'article critique cette évolution de la ville culturelle et du lieu artistique 'étiqueté', dans la forme et la fonction, affirmant que la forme a suivi le financement régional, et que la régénération ou la fabrication de lieux par la culture reflète la stratégie de marque des produits Nike et Sony; en effet, ils rivalisent avec eux pour attirer consommateurs et politiques, en utilisant une architecture vedette et des stratégies de distribution qui désavouent leurs distinctions culturelles et leur domaine ou bien public. Pour conclure, ces produits vedettes et stratégies culturelles ont un coût en termes de diversié et production culturelles (opposées à consommation et intervention), en charme et activité culturelle de la communauté, coût payé par ceux qui n'ont pas part au processus d'embourgeoisement associéà ces 'grands projets' internationaux.

Bringing together academics, artists, practitioners and 'community activists', this book explores the possibilities for, and tensions of, social justice work under the contemporary drive for community-orientated 'impact' in the academy. Threading a line between celebratory accounts of institutionalised community engagement, self-professed 'radical' scholarship for social change and critical accounts of the governmentalisation of community, the book makes an original contribution to all three fields of scholarship. Showcasing experimental research and co-production practices taking place in the UK, Australia, Sweden and Canada and within universities, independent research organisations and internationally prestigious museums and galleries, the book considers what research impact could look like for a wide range of audiences and how universities could engage with different publics in ways that would be relevant and useful, but may not necessarily be easily measurable. Asking hard questions of the current impact agenda, the book offers an insight into emerging routes towards co-production for social justice