The Ludic City

Stevens, Quentin

doi:10.4324/9780203961803

Cited by 252 publications

(70 citation statements)

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“…Public art can take part in these movements, given art's property to capture attention and to produce sensations, it becomes a mechanism of relation of both, artists and spectators, to the city. Moreover, Stevens (2007) points that one of the fundamental functions of public space is being a setting for informal social play, which is largely neglected aspect of urban experiences and comprehends activities that are 'spontaneous, irrational or risky, and which are often unanticipated by designers, managers and other users' (Stevens, 2007). Spontaneity and risk are both aspects related to the practice of graffiti and street art.…”

Section: Urban Art As a Creative Tool For Placemaking And Regenerationmentioning

confidence: 99%

Urban Art and place. Spatial patterns of urban art and their contribution to urban regeneration

Balarezo

Karimi

2017

Proceedings 24th ISUF 2017 - City and Territory in the Globalization Age

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Cities face several challenges regarding public space and urban regeneration. Some of them are the depersonalization and lack of interest of citizens in their own city, privatization, gentrification, technologization and gender-insecurity. Public spaces lose their character as articulator and generator of human relations, while neighborhoods lose their role as the basic unity of community and urban identity. Nowadays, many bottom-up strategies have arisen as expressions of neighborhood’s inhabitant’s will, producing cultural diversity and civic engagement, with a placemaking effect. Urban art is one of them. Social and economic products of urban art have been studied, but the spatial manifestation and impact have been largely absent from the discourse of urban morphology. Spatial conditions are representational of social practices like art, by structuring patterns of movement, encounter and separation in the city (Cartiere & Zebracki, 2016). This study aims to discover the spatial relation between urban art displays and the network of public spaces, and whether this pattern has a role in neighborhood regeneration. To identify these relations in Shoreditch, London, Space Syntax analysis and spatial clustering were used, combined with a survey of geographically located public urban art (extracted from social networks data). Also, the spatial patterns of land prices and land uses from 1995 to 2016 were examined. Research showed that various types of artwork have a strong relation with certain spatial network characteristics and visibility of locations from each other. Economic and use outcomes were also related to the development of the art pattern through the years.

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Section: Urban Art As a Creative Tool For Placemaking And Regenerationmentioning

confidence: 99%

Urban Art and place. Spatial patterns of urban art and their contribution to urban regeneration

Balarezo

Karimi

2017

Proceedings 24th ISUF 2017 - City and Territory in the Globalization Age

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“…Stevens [2] wrote that "threshold spaces are always, by their very nature, only partly defensible and also partly unregulated and disordered, shared with strangers, other activities and unfamiliar experiences which are always in motion." Thresholds, he said, "can be both physically and existentially slippery" ([2] p.177).…”

Section: Complexity Of "Threshold"mentioning

confidence: 99%

“…As sojourn, they are temporary pauses in an experiential journey across time-space [1]. As places of movement [2], they "regulate and give meaning to the act of crossing" ( [3] p.13). That thresholds symbolize non-finality, however, means they also entail possibility.…”

Section: Introductionmentioning

confidence: 99%

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User Experience in the Threshold Matrix of Public Space

Stephen¹

2015

IJAE

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Designers seek to create environments which offer their inhabitants comfortable, desirable, meaningful or other qualified forms of experience. Some successful models/solutions involve synthesis of space and person as mutually constitutive. There is understanding of union of space and person as dynamic. Models of space inhabitation or design which recognize such a dynamic relationship are said to view space as relational. In this paper, we claim space as relational. We also present the case that emergent in actualizing the relational idiom is the idea of threshold. Threshold is many things and complex. It symbolizes crossing but also pause, end but also beginning, a brief moment but also extended duration. We explore the concept of threshold within physical, perceptual and rational frames. City and cultural spaces have pleasures embedded in the idea of threshold. Through critical analysis and intervention the designer can tap into those pleasures for the benefit of the user.

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“…Thresholds represent a thirdspace that is physically distinct from inside and outside the site; here, the distortion of efficient temporal and spatial rhythms of the city tends to slow people down and amplify the potential for interaction. 47 At a mothballed post-industrial site, for example, the threshold may take the form of a partially ruined and overgrown fence, through which gaps facilitate clandestine access for curious urban explorers. In an urban wasteland-in addition to fractured physical barriersacceptance into a particular subculture may also contribute to the formation of a socially forged threshold that must be transcended to access the site.…”

Section: Grounding Uselessness: Topographic Stagesmentioning

confidence: 99%

The Usefulness of Uselessness: Towards a Landscape Framework for Un-Activated Urban Public Space

Kullmann¹

2014

Architectural Theory Review

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The Ludic City

Cited by 252 publications

References 0 publications

Urban Art and place. Spatial patterns of urban art and their contribution to urban regeneration

Urban Art and place. Spatial patterns of urban art and their contribution to urban regeneration

User Experience in the Threshold Matrix of Public Space

The Usefulness of Uselessness: Towards a Landscape Framework for Un-Activated Urban Public Space

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