2007
DOI: 10.1111/j.1475-4762.2007.00741.x
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The politics of design: architecture, tall buildings and the skyline of central London

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Cited by 51 publications
(27 citation statements)
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“…There has been a particular focus on the translation of design and planning ideas into new spatial, cultural, institutional and legal settings (Blok 2014;Guggenheim and Söderström 2010;Söderström and Geertman 2013;Tait and Jensen 2007) and on the ways in which globalized design and planning ideas have been harnessed to local urban politics (Grubbauer 2014;Kaika 2010). It has been shown that public and private clients seek out international firms -whether they be designfocused signature architects or large full-service firms -because they think that their experience and prestige will facilitate the development of a project, channel public debates and smooth the planning approval process (Charney 2007a;McNeill 2007). In other words, employing a large firm with international experience and a global presence in design and planning is essentially a risk-minimizing strategy, much as it is for any other business service.…”
Section: Circulating Knowledge In the Production Of The Built Environmentioning
confidence: 99%
See 1 more Smart Citation
“…There has been a particular focus on the translation of design and planning ideas into new spatial, cultural, institutional and legal settings (Blok 2014;Guggenheim and Söderström 2010;Söderström and Geertman 2013;Tait and Jensen 2007) and on the ways in which globalized design and planning ideas have been harnessed to local urban politics (Grubbauer 2014;Kaika 2010). It has been shown that public and private clients seek out international firms -whether they be designfocused signature architects or large full-service firms -because they think that their experience and prestige will facilitate the development of a project, channel public debates and smooth the planning approval process (Charney 2007a;McNeill 2007). In other words, employing a large firm with international experience and a global presence in design and planning is essentially a risk-minimizing strategy, much as it is for any other business service.…”
Section: Circulating Knowledge In the Production Of The Built Environmentioning
confidence: 99%
“…service firms operate with substantially different logics and client bases (Gutman 1988;McNeill 2009), the reasons for contracting elite firms are similar. In the eyes of local governments and private investors, the involvement of these firms, particularly those of celebrity architects, guarantees public attention, facilitates planning approval and serves as a risk minimization strategy (Charney 2007a;McNeill 2007;Olds 1997). Consequently, in examinations of urban policy mobility, architects and planning professionals figure as prime examples of 'transfer agents' (McCann and Ward 2012: 46).…”
mentioning
confidence: 99%
“…To overcome simplification and to gain analytical depth, we should make the context and specifics explicit. This articulation acknowledges that design/aesthetics, politics and economics are not discrete elements but are intertwined, and the boundaries between them are changing, porous and elusive (McNeill ; Charney ). Above all, these qualities make exceptional and closely watched supertall skyscrapers such as Petronas Towers, Burj Khalifa, the Shard and One WTC into valuable lenses through which it is possible to monitor, interpret and analyse the process of urban redevelopment.…”
Section: The Logic Of Skyscrapersmentioning
confidence: 99%
“…It has been shown that, beyond merely providing an aesthetic spectacle, these architectural projects are deeply political. The involvement of celebrity architects enhances planning approval processes and secures public acceptance (McNeill, 2002; 2007; Charney, ), facilitates the implementation of large‐scale urban development schemes by justifying their ‘condition of exceptionality’ (Swyngedouw et al ., : 264) and also serves political projects of nation‐building, as evident in the case of Asian cities (Bunnell, ; Ong, ). Essentially, architectural iconicity can be understood as ‘a resource in struggles for meaning and, by implication, for power’ (Sklair, : 22) which is (to varying degrees) increasingly driven by corporate interests.…”
Section: Introductionmentioning
confidence: 99%