The spatial dynamics of gentrification in Paris. A synthesis map

Les espaces publics parisiens à l’épreuve de la démocratie locale

“…C'est d'autant plus le cas que la surreprésentation de ces catégories de population se renforce à Paris (Clerval 2008) et que de surcroît les aménagements sont sensiblement plus nombreux dans les quartiers en voie de gentrification (Fleury 2007). A l'inverse, les catégories les plus défavorisées sont rarement présentes dans les réunions publiques.…”

“…Ils se muent en espaces de grande qualité esthétique peu propices aux usages traditionnels; ils peuvent même constituer une barrière symbolique pour des groupes qui par ailleurs s'investissent peu dans la concertation. Les aménage-ments viennent alors renforcer un processus d'exclusion déjà constaté au niveau résidentiel (Clerval 2008). Et l'exclusion de se faire plus radicale encore quand il s'agit de groupes considérés comme «indésirables» (Belina 2003).…”

Young artists and the development of artistic quarters in Polish cities

“…With time, as SoHo began to attract more mainstream artists, art galleries and non-artistic gentrifiers, some artists started to move to other post-industrial, working-class or ethnic neighbourhoods (Cole, 1987;Zukin, Braslow, 2011). This cycle of emergence, growing popularity, boom, and then decline of artistic concentration repeated itself in other New York districts, and has been observed in many other major North American and West European cities such as London (Green, 1999;Ambrosino, 2013;Gornostaeva, Campbell, 2012;Harris, 2011;While, 2003), Paris (Clerval, 2008;Collet, 2008;Vivant, 2009Vivant, , 2010Gravereau, 2013;Chabrol, 2011, Boichot, 2013, Berlin (Heebels, van Aalst, 2010;Boichot, 2013), Brussels (Debroux, 2013a, 2013b, Barcelona (Tremblay, Battaglia, 2012;Ballester, 2013), Montreal (Tremblay, Battaglia, 2012) and Toronto (Bain, 2003;Ley, 2003;Hracs, 2009;Matthews, 2008).…”

Inside and outside the city: an outline of the geography of visual artists in Brussels (19th‑21st centuries)

“…In the following decades, these impoverished areas experienced a different fate -the southeast pole attracted new middle-class households, initiating processes of renovation, contrary to the old neighbourhoods of Saint-Josse and Schaerbeek. In addition to material barriers which isolated these areas from the city centre and its cultural offer (building of Boulevard du Botanique and service sector development of the area northeast of the Pentagon after the war), there were symbolic obstacles which slowed down the return of the middle-class, including artists (pronounced spatial marking by a dominant community, opposed to the ideal of social mix -Clerval, 2010;Lévy, 1998).…”