Critical terrain. New uses of art in urban planning.
MétisPresses| N° d'inventaire | 25529 |
| Format | 14 x 19 |
| Détails | 204 p., illustrated, paperback. |
| Publication | Geneva 2022 |
| Etat | Nine |
| ISBN | 9782940711055 |
By turns tactical, temporary, festive, participatory, creative, and human, urban planning has taken on unprecedented forms since the turn of the 21st century. The notions of affect, experience, and design have gradually become established in the ethos of urban planning professionals, as the field has opened up to unexpected actors and new arts-de-faire. This transformation is the product of a long dialogue between practice and critique: to the critique of expertise and the distancing of residents, urban planning has responded with participation; to the critique of legitimacy, it has responded with narrative and the celebratory staging of its action; to the critique of the monotony and gloom of modernism, it has responded with the use of authenticity and the event-making of city centers.
The investigation that is the subject of this book tells the story of a progressive integration of cultural and artistic action into urban planning. Faced with a context of mistrust towards it, it describes an urban planning that is opening up to skills in mediation, animation, and communication. And depicts, conversely, an art world eager to invest in this new niche of urban public commissioning. The intrigue that plays out there suggests the emergence of a new spirit of urban planning.
By turns tactical, temporary, festive, participatory, creative, and human, urban planning has taken on unprecedented forms since the turn of the 21st century. The notions of affect, experience, and design have gradually become established in the ethos of urban planning professionals, as the field has opened up to unexpected actors and new arts-de-faire. This transformation is the product of a long dialogue between practice and critique: to the critique of expertise and the distancing of residents, urban planning has responded with participation; to the critique of legitimacy, it has responded with narrative and the celebratory staging of its action; to the critique of the monotony and gloom of modernism, it has responded with the use of authenticity and the event-making of city centers.
The investigation that is the subject of this book tells the story of a progressive integration of cultural and artistic action into urban planning. Faced with a context of mistrust towards it, it describes an urban planning that is opening up to skills in mediation, animation, and communication. And depicts, conversely, an art world eager to invest in this new niche of urban public commissioning. The intrigue that plays out there suggests the emergence of a new spirit of urban planning.