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1 | Author/s | Title of publication | Year | Abstract / introduction | Source type | Country | Region | Link | ||||||||||||||||||
2 | Brito-Henriques E.; Costa P. | Restoring Place Attachment in a Ruined Post-industrial Landscape: Change, Sense of Community and Aesthetics in Barreiro, Portugal | 2022 | Place attachment in ruined post-industrial landscapes is a very controversial issue. This chapter explores this topic in Barreiro, a shrinking post-industrial town in the Lisbon metropolitan area, Portugal, that has become an effervescent spot for creativity in the very recent years. Thus, links among industrial ruination, arts and place attachment are especially explored in this chapter, looking at how this community of artists and creatives perceives and experiences the new post-industrial condition of the place. The chapter shows that even places stigmatised by toxic legacies and ravaged by de-industrialisation can generate positivities within their communities, in some sub-groups, highlighting that of artists and creatives as one of them. In fact, ruined post-industrial landscapes possess sensory qualities and material affordances that can generate unforeseen forms of creative subjectivity and stimulate renewed forms of place attachment mediated by the arts, as we conclude in this chapter. This fact also emphasizes the potential of arts and creativity for placemaking and restoring place attachments. © 2022, The Author(s), under exclusive license to Springer Nature Switzerland AG. | Ethnographic | Portugal | Lisbon | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85140216992&doi=10.1007%2f978-3-031-09775-1_19&partnerID=40&md5=bba8448e4b0fa1c8d038b36f7f6c6058 | ||||||||||||||||||
3 | Jeong H. | Does café culture drive artistic enclaves? | 2023 | Café culture is emerging as a global phenomenon. While the café has been a social venue for artists throughout history, research has not paid much attention to the relation between cafés and artists in cultural settings. In this paper, we conceptualize and quantify three types of café and art scenes: bohemian, corporate, and communal. Using the Yellow Pages and US Census data, our statistical analyses assess the role of cafés in the clustering of artists in New York City, Los Angeles, and Chicago. The results show that the presence of cafés is significantly associated with clusters of artists, all else being equal. In the entire metropolitan statistical areas, cafés in bohemian or communal settings attract artists, although they are highly present in corporate culture as well. Case studies also suggest that pedestrian streetscape, interactive store design, building conversion programs, and access to transit draw artists to cafés. © 2021 Informa UK Limited, trading as Taylor & Francis Group. | Quantitative (statistical regression) | US | New York, Los Angeles and Chicago | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85111465187&doi=10.1080%2f17549175.2021.1953112&partnerID=40&md5=0652e94a6799b504e10373c5ed98e65e | ||||||||||||||||||
4 | Snajdr E.; Trinch S. | To preserve and to protect vanishing signs: activism through art, ethnography, and linguistics in a gentrifying city | 2022 | This article explores how a semiotics of the artistic aesthetics of New York City storefronts is deployed as activism against processes of gentrification and redevelopment. We examine how this creative endeavor by two local photographers compares to our own ethnographic and linguistic interventions uncovering and addressing storefront signage in gentrifying Brooklyn. We also compare this art activism to the ways in which developers and nations use art in various ways in the service of their placemaking goals. In doing so, we highlight both the innovative power of artistic framing to preserve and protect storefronts as salvage anthropology as well as the limits of this effort. We conclude with a discussion of how ethnography and activist art can yield different, yet critical mobilizations in the pursuit of maintaining multicultural communities and diversity in the neo-liberalizing city. © 2022 Informa UK Limited, trading as Taylor & Francis Group. | Ethnolinguistic methodology | US | Brooklyn, New York | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85138293200&doi=10.1080%2f10350330.2022.2114728&partnerID=40&md5=520960daa7274d27bb01a0cd695c6a9a | ||||||||||||||||||
5 | Shanti C.; Gerstenblatt P.; Frisk S. | Putting the pieces together: critical service learning and social work education | 2022 | This phenomenological study explored the experiences of students in a macro practice social work elective, which integrated critical service-learning and creative placemaking. In a community-university partnership, twenty-four students from a variety of disciplines worked with a university Artist in Residence and social work professor to create a participatory mosaic mural in an ethnically diverse and rapidly gentrifying area. Of the 21 students in the class, eight participated in the study and completed hour-long semi-structured interviews. Analysis revealed three primary themes: (1) role and power of art, (2) importance of relationships, and (3) impact of this community engagement class. The findings support the importance of art and community- embedded learning in engaging students. Especially relevant to social work education, student learning focused on cultivating communication and collaboration skills across individuals, groups, and communities. This paper will contribute to the growing body of literature which supports the value of critical service-learning, creative placemaking, and community-based collaborations in social work education. © 2021 Informa UK Limited, trading as Taylor & Francis Group. | Ethnography (Hermeneutic phenomenology) | US | Maine | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85105457760&doi=10.1080%2f02615479.2021.1924663&partnerID=40&md5=14812354f18268d0717bf519846aa4e7 | ||||||||||||||||||
6 | Guo W. | Institutional entrepreneurship through network governance: a social network analysis of NEA's creative placemaking national initiative | 2022 | The National Endowment for the Arts (NEA) implements creative placemaking (CPM) policy by forging and coordinating a broad-based national policy network. This article visualizes and analyzes the national CPM policy network based on hyperlinks on the policy actors’ websites. By unpacking the roles, resources, and affected interests of policy actors and their relationships with each other in the policy network, this article finds that the NEA exercises institutional entrepreneurship through CPM policy with four governance strategies: (1) seek legitimacy by re-activating federal interagency relations; (2) reorient and expand arts constituencies through existing governance infrastructure and new brokers; (3) develop discursive strategy and advance policy implementation through consulting and research organizations, and (4) diversify financial support by reaching out to banks and foundations. In the entrepreneurial process, the NEA also develops a mutually reinforcing mechanism of public value, financial stability, and artistic vitality with the governance strategies. © 2022 Informa UK Limited, trading as Taylor & Francis Group. | Social Network Analysis | US | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85131601143&doi=10.1080%2f09548963.2022.2082863&partnerID=40&md5=6f82756f199327fa7c2dd5da350a1b7d | ||||||||||||||||||
7 | Gupta J. | Civic pivot: Smoothing the politics of race and place through arts and culture in Nashville, Tennessee | 2022 | In Nashville, Tennessee, arts and culture have become levers for competition, civic engagement, and collective action. Specifically, the proliferation of an artistic civic practice—creative placemaking and other efforts to promote social inclusion, address public problems, and enliven public participation through the arts—is cast as a “civic pivot” within the cultural sector. I argue that Nashville’s “civic pivot” in the arts is a vehicle through which to examine how public life is made marketable, and the specifically racial considerations of this commodification. This research is based on 18 months of mixed methods qualitative fieldwork in a city where contestations over land-use, representation, identity, and belonging have been long-standing. I argue that artistic civic practices are enrolled in maintaining a social and racial order that is hospitable to market investment, absorbing pressures to brand a genteel urban politics and underscore effective social assimilation. Such practices make public life marketable to the extent that they facilitate common interests in private sector investment and assimilate specifically racial histories and claims into endorsements of the “greater good” of regional prosperity. The contradictions of this civic pivot are vulnerabilities to be exploited by citizen-subjects, continuing to enliven struggles for belonging. © 2022 Urban Affairs Association. | Qualitative approaches | US | Nashville | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85122456952&doi=10.1080%2f07352166.2021.2002162&partnerID=40&md5=a6519b08f235396f47da9309321d6544 | ||||||||||||||||||
8 | Gregory J.J. | Taming The Wilds: tactical urbanism and creative placemaking in the revitalisation of a nature reserve in Johannesburg, South Africa | 2023 | The use of tactical urbanism and creative placemaking in the revitalisation of public space has received growing research interest. In Johannesburg, there is evidence of these approaches in the revitalisation of The Wilds, a nature reserve located near the inner-city. The Wilds experienced neglect and decline due to increased crime. By the mid-2010s, an artist championed the bottom-up revitalisation of The Wilds through routine maintenance, the introduction of public art, and events to encourage engagement with the space. This study draws on personal communication and semi-structured interviews with key informants and utilises netnography. It was found that the use of public art and social media resulted in an increase in visitor numbers and volunteers who assisted in the maintenance, restoration and engagement with the space. The use of tactical urbanism and creative placemaking, however, has brought volunteers into conflict with the city over the usage and co-management of The Wilds. © 2023 (James J. Gregory) This is an open access article licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License. | Qualitative Interviews and Netnography | South Africa | Johannesburg | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85165079006&doi=10.12775%2fbgss-2023-0014&partnerID=40&md5=3e15cc29d0d9518f031efaa88225325b | ||||||||||||||||||
9 | Gelbard S.B. | “Did You Hear? Mavericks Is Closing!” Punk Refusal of Gentrified Endings | 2023 | Decades of experience with closed, relocated, and renamed venues, make punks very familiar with cycles of gentrification. Often established in edge neighborhoods, punk venues participate in reproducing the “grit” of urban decline and subculture. Urban revitalization plans that promise community, livability, and culture, rarely leave spaces for established punk community and subculture. The newly branded Retail, Arts, and Theatre District in Ottawa, Canada is a case study in cultural urban development that operationalizes creative placemaking and its future-oriented visions of urban revitalization through cultural spaces and activities. Although the city’s Official Plan celebrates that existing cultural venues add diversity to the district, the pressure placed on punk venues by surrounding development reveal that not all venues are to be recognized by the city as legitimate or desirable forms of either diversity or culture. Close readings of official city planning documents, urban histories, development proposals, and marketing literature are juxtaposed with auto-ethnographic, storytelling, punk histories, and song writing. I argue that punk counter-cultural placemaking practices provide counter-information, counter-environments, and counter-temporalities to space in the city to resist gentrification and refuse displacement as endings. Gentrification kills punk. But punk always comes back, finds new places, haunts old sites, and remembers its past. © 2023 American Association of Geographers. | Mixed Methods Auto-ethnography | Canada | Ottawa | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85152679082&doi=10.1080%2f2373566X.2023.2180418&partnerID=40&md5=26c048addb740732b3404af696c3c964 | ||||||||||||||||||
10 | Nomusa Makhubu and Greg Ruiters | Erratum “This land is not for sale’: Post-1994 resistance art and interventionism in Cape Town's precarious publics” (City, Culture and Society (2020) 23, (S1877916620300503), (10.1016/j.ccs.2020.100368)) | 2022 | The control, regulation and commodification of space has been fundamental in reinforcing structural racism and social identities. In a city such as Cape Town, where colonial architecture and heritage as well as apartheid racial zoning forms part of the spectacularisation of the city, racial conflict seems to have deepened. Through discussing public protest, artistic public interventions and live art, we argue that young black artists in South Africa are heralding a new phase of post-1994 resistance art which exposes conflictual cultural politics of public space in Cape Town rather than a healing democracy and multi-culturalism. As protesters and activists, artists deface the myth of a reconciled non-racial post-Apartheid society by targeting officially sanctioned art. Drawing from Faranak Miraftab's notion of ‘invited’ and ‘invented’ spaces as well as Chris Dixon and Angela Davis' concept of prefigurative politics, we argue that precarious South African publics are experienced as a ‘battleground’ rather than a space for liberal deliberation and democracy. New resistance art, therefore, tends to be protest-centred in engaging with the conflictual nature of the city. | Creative methodology (public protest intervention) | South Africa | Cape Town | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85131099839&doi=10.1016%2fj.ccs.2022.100467&partnerID=40&md5=50fe0fc823d42055919691970a0118d2 | ||||||||||||||||||
11 | Stevens Q.; Leorke D.; Thai H.M.H.; Innocent T.; Tolentino C. | Playful, portable, pliable interventions into street spaces: deploying a ‘playful parklet’ across Melbourne’s suburbs | 2023 | A parklet is a small, relocatable public space installed onto kerb-side car-parking spaces. This article examines the evolving design, programming, approval process and reception of a ‘playful parklet’, available for free public use, which was transformed and relocated between four urban contexts in Melbourne. It demonstrated a creative, collaborative placemaking approach involving artists, game-makers, researchers, residents and local governments. Through analysis of its playful, portable and pliable design, the article highlights three areas of innovation: testing new post-COVID governance and engagement possibilities; incorporating adaptability and incremental adjustment into parklet design; and serving as a platform for new modes of social and spatial play. © 2023 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. | Ethnographic | Australia | Melbourne | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85162697743&doi=10.1080%2f13574809.2023.2227099&partnerID=40&md5=4cf73d59cac31a2c67468f519c9a0c04 | ||||||||||||||||||
12 | Balsas C.J.L. | Historical and conceptual perspectives on urban regeneration: a prolog to a special issue | 2022 | Purpose: This paper aims to review multiple historical perspectives on urban regeneration interventions while also serving as a prologue to and the rationale for a Special Issue of the Journal of Place Management and Development (JPMD) on Placemaking and Sustainable Urban Regeneration in Japan. Design/methodology/approach: The paper reviews the literature on city center regeneration, with particular attention to the USA and the UK contexts. The emphasis is on comparing and contrasting what have become known as the North American and European regeneration models. This background is helpful to place the Special Issue in a broad international context. Findings: The key finding is that the history of planning city centers appears to be largely a response to urbanization and the problems it has brought forward. The papers in this JPMD’s Special Issue exemplify this finding with cases from Toyama, Kanazawa and Tokyo. Originality: Cities are transformed as their centers grow and develop. City centers represent important anchor points in every community. However, evolving functional decentralization has occurred mostly due to changes in flows of capital, people, materials and other socio-economic transformations. The review shows how urban regeneration programs tend to be implemented to correct and or improve physical, socio-economic and environmental problems associated with functional and programmatic decentralization. © 2021, Emerald Publishing Limited. | Literature review | Multiple | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85122068829&doi=10.1108%2fJPMD-04-2021-0045&partnerID=40&md5=943d333b293679628a222c5ffd01c1ca | ||||||||||||||||||
13 | Matthews T.; Gadaloff S. | Public art for placemaking and urban renewal: Insights from three regional Australian cities | 2022 | Public art is internationally used as a place-making device to drive urban regeneration and boost social capital. Benefits include enhanced urban environments, increased resident and tourist footfall and improved local economies This paper examines public art provision in three regional cities in Australia: Townsville, Gold Coast and Toowoomba. Each city leverages public art for placemaking and renewal, seeking to deliver thriving and creative urban precincts with strong community identity. This paper investigates how planning approaches to managing public art vary across the cities and how effective they are in delivering artworks. Theoretical contributions focus on the intrinsic and instrumental values of public art for urban communities. Empirical findings derive from policy reviews, spatial audits and semi-structured interviews with art producers - elected officials and industry professionals. Findings from Townsville, Gold Coast and Toowoomba reflect international experiences, where public art projects improve spaces and remediate a range of disorderly urban conditions. This paper contributes to international literature on the planning and provision of public artworks as a form of creative placemaking and urban renewal. Its focus on regional, marginal cities is novel, considering the preponderance of international research focused on major cities and their metropolitan surrounds. © 2022 Elsevier Ltd | Comparative Case Study | Australia | Townsville and Toowooba | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85130337482&doi=10.1016%2fj.cities.2022.103747&partnerID=40&md5=0fc750b90cc8e05130a0c4daa8ec6b80 | ||||||||||||||||||
14 | Mahmoud I.H. | Placemaking for Green Urban Regeneration | 2022 | Placemaking of public spaces is a phenomenon that has arisen in contemporary urban cities lately, specifically, those involved in art and cultural urban regeneration and, more recently, in climate change challenges.In turn, creative placemaking movement fosters entrepreneurial and cultural activities that generate jobs and income in most cities.Moreover, when the correct urban development approach is applied, the outcome can benefit several social target groups such as community development actors, by increasing economic viability, and cultural vitality.Contemporary placemaking, known as creative placemaking, envisions urban public spaces acting as creative crucibles for citizen engagement between public sector, private sector, businesses, housing, residents, and visitors.In light of potential radical changes in the outcomes of placemaking, this book investigates a possible placemaking approach efforts in literature, results from similar examples and finally in the case of North End Park, on the greenway in Boston, Massachusetts.The final aim of looking at these areas of research is to revitalise public spaces and improve their sociability; and to emphasise their significant role towards sustainable community development, in general and specifically in green-based urban regeneration processes. © 2022, The Author(s), under exclusive license to Springer Nature Switzerland AG. | Multiple | US | Boston | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85140772282&doi=10.1007%2f978-3-031-15408-9_1&partnerID=40&md5=eca78c2c4acadbdb2ac70c2eb8d51700 | ||||||||||||||||||
15 | Hill I.; Manning L.; Frost R. | Rural arts entrepreneurs’ placemaking – how ‘entrepreneurial placemaking’ explains rural creative hub evolution during COVID-19 lockdown | 2021 | This article critically evaluates the development and impact of a new online ‘dance practice’ service in a rural creative hub Remote. The research asks: ‘How does entrepreneurial placemaking contribute to the evolution of rural creative hubs during the COVID-19 pandemic?’ To answer this question, the article critically evaluates the business activities of one artisan entrepreneur, applying placemaking and resilience. Using a case study strategy, this research employs online qualitative research. Creative hub development is explained as a result of ‘entrepreneurial placemaking’, forming the main contribution of this article. This term subsumes multi-layered exchanges. ‘Entrepreneurial placemaking’ is conceptualised as continuous becoming, and illustrated by Remote’s adaption processes to lockdown phases. Remote is turned into a stage for digital placemaking during the COVID-19 lockdown via the ‘open dance practice’ service provided by a performance dance artist. Findings highlight that to enact entrepreneurial placemaking, creative professionals need to draw upon adaptive capacity, which includes the ability to develop exchange relationships and business-related digital skills. Peer-learning is a recommended solution for developing such digital skills across artist entrepreneurial communities. This article contributes to the ongoing conversation on the role of creative hubs for socio-economic development foregrounding the activities of hub users. © The Author(s) 2022. | Netnographic and Ethnographic | UK | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85129052453&doi=10.1177%2f02690942221083838&partnerID=40&md5=b58b2c72a6d519715b41ad5352da4944 | ||||||||||||||||||
16 | Wang Q.; ogilvie D.; Richardson L. | Race/ethnicity, place, and art and culture entrepreneurship in underserved communities | 2021 | Few studies of entrepreneurship and creative industries have investigated the role of race/ethnicity, gender, and poverty. This study investigates the impacts of art and culture entrepreneurship in a traditionally underserved community. The findings demonstrate that, using their business ventures as both economic and social enterprises, art and culture entrepreneurs engage in a continuous process of adaptation, learning, and innovation and seek opportunities to serve their business goals. Through artistic placemaking, race/ethnicity and entrepreneurship in creative industries interact with each other as agents of change in the local community and in social entrepreneurship. Our findings call for a social impact approach that emphasizes the importance of locally formed cultural production and a socially inclusive entrepreneurship ecosystem. © 2021 | Ethnographic | US | Newark, NJ | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85105705984&doi=10.1016%2fj.cities.2021.103243&partnerID=40&md5=cfd5011fc4ed51cbeea732b2203e5ea6 | ||||||||||||||||||
17 | Furtado L.S.; Payne J.M. | Inclusive Creative Placemaking Through Participatory Mural Design in Springfield (MA) | 2022 | Problem, research strategy, and findings: Public art is a beneficial creative placemaking strategy that can establish spaces for public expression, a sense of belonging, and social interactions. However, there remains a shortage of case studies documenting its tangible positive impacts in minoritized communities. We sought to fill that gap by investigating community engagement processes in the multiple stages of planning, conceptualization, and materialization of the Fresh Paint Springfield mural festival in 2019 in Springfield (MA). Through observation of one mural that was designed and painted in collaboration with hundreds of Black, Indigenous, and people of color (BIPOC) residents and in-depth interviews with residents, sponsors, and artists, we present public art mural installations as an inclusive creative placemaking strategy. Findings showed three aspects that fostered community pride and sense of belonging: first, artists engaged with downtown residents in multiple stages of the mural installation; second, the artistic product was intentionally designed as a culturally specific depiction of members of the local community; and last, the open-door studio policy used by the muralist in our case study instigated community member participation and broke the status quo of artists as singular producers of mural art. If given institutional support, artists are key stakeholders who promote aesthetics of belonging, adopt methods that empower residents, and create meaningful and accessible art. Takeaway for practice: Certain aspects of the festival organization generated convivial spaces and opportunities for sharing among community members. First, meaningful engagement must be at the forefront of creative placemaking strategies in terms of curating artists, participatory methodologies, and representative designs. The festival format with multiple murals offered advantages to increase buy-in from building owners and sponsors and increase the impact of public art. Last, institutions can anticipate and take on processes such as securing wall permissions, negotiating insurance, and fundraising to allow artists to thrive. © 2022 American Planning Association, Chicago, IL. | Ethnographic | US | Springfield, MA | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85134048842&doi=10.1080%2f01944363.2022.2083008&partnerID=40&md5=4e1c3b2c02d37b93b7e50e4fad031f51 | ||||||||||||||||||
18 | Landau-Donnelly F. | Ghostly murals: Tracing the politics of public art in Vancouver’s Hogan’s Alley | 2023 | The article unpacks the multiple political implications of commissioned murals in contested urban space. It examines public artwork in Hogan’s Alley, a historically Black neighborhood in Vancouver, BC, situated on the unceded Indigenous territories of the Musqueam, Squamish, and Tsleil-Waututh Coast Salish Nations. Drawing from ethnographic field research and semi-structured interviews with local artists, policymakers and community activists, I read the mural Remember Hogan’s Alleny (2019), covering the sidewall of a subsidized housing project, as a contested public space. In this conflictual space, multiple pasts appear, disappear and reappear, oscillating between the celebration of Black culture, food and entertainment and the systematic displacement of Black residents and businesses. By contrasting diverging rationales, expectations and dreams regarding murals’ contributions to memory-making and cultural reconciliation, I trace where and how conflicts about public art inscribe themselves into the urban cultural fabric. The article intervenes into the predominantly ‘positive’ discussion of sanctioned public art to develop a more conflict-attuned understanding of artworks placed in the public realm. It deploys a framework of hauntology to discuss the appearance of ghosts invited into the public realm via official art commissions. These ghosts, becoming visible on urban walls via acts of placemaking, conjure memories of spatial displacement and racial discrimination, as well as stories of community care and healing. In sum, the article argues that the analytic of ghosts assists to foster an understanding of public art as always-already conflictual, thus inviting to stay with conflicts of belonging and memory, rather than to suppress them or shy away. By reflecting on what public art does politically – unpacking diverse narratives of the past that continue to mark present racial inequalities – the article contributes to sketching a conflict-oriented understanding of public space that is needed in cities wounded by racism and displacement. © The Author(s) 2023. | Ethnographic | Canada | Vancouver | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85159051944&doi=10.1177%2f23996544231172122&partnerID=40&md5=74c1f1a2307c9d8e116447223e598207 | ||||||||||||||||||
19 | Leung H.H.-S. | In their riotous tracks: Screen media and placemaking in Vancouver's chinatown | 2023 | This article examines the impact of screen media and digital technology on creative placemaking efforts in Vancouver's Chinatown. It reviews interdisciplinary research on placemaking as relational, networked practices that navigate conflicts and aspire towards social inclusion while operating in an urban context where diverse populations are engaged in daily interactions that cross ethnic and linguistic boundaries. A discussion of the placemaking initiatives of the collective Youth Collaborative for Chinatown (YCC) illustrates the ethos of grassroots placemaking practices in Vancouver's Chinatown and the way they intervene into competing discourses of heritage, multiculturalism, and gentrification. The main case study analyzes 360 Riot Walk, a historical walking tour in Vancouver's Chinatown designed by media artist Henry Tsang, focusing on the project's use of screen media and digital technology to provoke experiences of discomfort and unbelonging. The conclusion reflects on the importance of feeling “out of place” in placemaking efforts that engage with traumatic histories. © 2023 | Ethnography (AR participation) | Canada | Vancouver | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85162948419&doi=10.1016%2fj.ccs.2023.100520&partnerID=40&md5=67ec002de163f998ce6f8f1020dac6ef | ||||||||||||||||||
20 | Kenyatta M.J.-M. | “Blacklighting” the shaping of place: theories, strategies, and spatial imaginaries from the ‘Shaw | 2023 | Over the last two decades, public space discourse has shone brightest on those stages of urban design and historic preservation either termed “placemaking” or “placekeeping,” arguably leaving a gap everywhere amid this “place-shaping continuum.” This paper attends to that chasm through mixed-methods research to “Blacklight” urbanism through the eyes of merchants and community planners producing culture and building neighborhood economies without equitable support from propertied, financial institutions. By ethnographically narrating a complex case of the historically Black artistic community in South Los Angeles’ subregion nicknamed “the ‘Shaw,” this paper illuminates a new hue in the place-shaping spectrum for those celebrating Black heritage in the shadows of spatial abandonment called “placesteading.” It details three tactics of the Crenshaw placesteading strategy called “counter-valuation.” Through transdisciplinary study, these three new terms contribute to the global project of dignifying pluriversal planning practices and diasporic worldviews in urban geographies, heritage conservation, and design. © 2023 Informa UK Limited, trading as Taylor & Francis Group. | Ethnographic | US | Los Angeles | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85153590786&doi=10.1080%2f02723638.2023.2179825&partnerID=40&md5=d19a6c48bc723049396d6e8d51c8c0fc | ||||||||||||||||||
21 | Afsari Bajestani S.; Stupples P.; Kiddle R. | The relationship between creative developments and place: a position paper | 2023 | Purpose: The purpose of this paper is to explore and clarify the relationship between creative developments and the concepts of place and placemaking. Design/methodology/approach: This paper systematically reviews scholarly literature on the relationship between creative developments and the concepts of place, and critically analyzes the extent to which creative developments acknowledge different aspects of place. Findings: The findings demonstrate that the relationship between creative development and place is multifaceted, and combines physical, cultural and social aspects of place. However, the literature also calls for the greater valuation of particular facets of place, including the daily experiences of communities and local cultural producers, alongside symbolic and imagined aspects of place, all of which inform either positive or negative perceptions of urban form. In addition, the authors argue that the cultural value of the creative industries needs to be better acknowledged in creative developments, implying support for a range of cultural practitioners. Research limitations/implications: The authors argue that embracing a more holistic understanding of place in creative development has the potential to minimize the negative impacts sometimes associated with such developments (like gentrification and social displacement) while generating greater social and cultural benefits to people and place. The study findings raise questions that frame a critical research agenda for creative-led developments and creative placemaking in this context. Originality/value: By examining the broader relationship between creative developments and place and identifying areas neglected by researchers, this research contributes to an articulation of “creative placemaking” that moves creative city policy toward enhancing community development. © 2022, Emerald Publishing Limited. | Systematic Review | Multiple | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85141572814&doi=10.1108%2fJPMD-05-2022-0041&partnerID=40&md5=fd262ca2ba0e73c6fb180597ab00da96 | ||||||||||||||||||
22 | Chang T.C. | Van Gogh in the Neighborhood: Creative Placemaking and Community Art in Singapore | 2022 | Creative placemaking is a process involving different sectors of society as they collaborate in cultural activities, deepening their relations with each other and the place in which they live and work. As a supposed panacea to the woes of poorly planned spaces and apathetic communities, it hopes to address social exclusion and generate feelings of belonging as the environment is culturally and collectively enhanced. Applying the dual concepts of creative placemaking and community art, this article explores the phenomenon of Void Deck Galleries in Singapore. As more spaces in public residential environments are filled with community-created art works, the relationships between the state, artists, and local communities demand critical examination. Empirical data derived from fieldwork in three void decks in Singapore reveal a proactive state, the coordinating role of an arts organization, and the involvement of an enthusiastic although largely passive local population. The full potential for creative placemaking in Singapore remains frustrated, however, and the discussion identifies reasons for this while also contemplating avenues toward its future accomplishment. © 2021 by American Association of Geographers. | Ethnographic (fieldwork) | Singapore | Singapore | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85119280271&doi=10.1080%2f24694452.2021.1977108&partnerID=40&md5=d80af4eda5d3208cba21cb5711ff75cb | ||||||||||||||||||
23 | Shuman M.H.; Rochecouste G.; Hocking C.; Hes D. | The New Local Lens: A Framework for Local Place Regeneration and Economic Diversification | 2022 | The events of 2020 have challenged the vitality and viability of our local places, main streets, shopping malls, community meeting places. The Covid-19 virus revealed how fragile these places were, how much we relied on them and how our approach to them needs to enable greater agility, adaptability and resilience. A new approach to local place and economic development is urgently needed. To address this challenge, a new framework is proposed, one with three overarching principles. It starts with place, understanding what is unique and vital about a community and how to nurture it. This is followed by regeneration, or regenerative development, an approach which explicitly looks at how to actively contribute to the aspects of a place that bring it to life. The last of the foundational principles is the concept of connectivity, which recommends building relationships between elements in a place, its people, its businesses and its ecosystems. Supporting these three are seven sub-principles. These provide the methods and concepts to support the development of what we call “the New Local,” a plan and a strategy to drive recovery from the impact of the Covid-19 virus while ensuring greater ability to respond to future stresses. These principles are: diversification, ownership, reinvestment, innovation, equity, democracy, and culture. The potency of this model it the interrelated and integrated nature of all the principles, it does not privilege economy, or nature, or place, but shows how they are all needed to create a resilient, adaptive local place. This chapter outlines each of the principles, applies them in a case study, and shows how they can inform the redesign of a community’s physical space and economy. The principles come from the combined experience of 80 years of practice in local economic development, placemaking and regenerative development. © 2022, The Author(s), under exclusive license to Springer Nature Switzerland AG. | Scoping | Multiple | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85161460314&doi=10.1007%2f978-3-030-97023-9_9&partnerID=40&md5=f46ac40cab3b6fabb5c9d4994d49166d | ||||||||||||||||||
24 | Ren Y.; Woudstra J. | Between Fengshui and Neighbors: Case Studies of Participant-Led House-Making in Rural East China | 2022 | China’s ongoing rural transition has led to dramatic infrastructural improvements in rural areas, yet local culture continues to decline. In rural east China fengshui has traditionally informed local building practice and has been revived since the “Reform and Opening” policy of 1978. It is practiced in those regions that have not yet been subjected to wholesale demolition and renewal, where residents are able to express a distinct connection to their homes. Adhering to fengshui enables an everyday placemaking process of engagement involving both practitioner and villagers. Through ethnographic field studies in rural Zhejiang province, this paper reveals how in a period of rapid rural transition the engagement with and (re)interpretation of fengshui contribute to the preservation of local building culture and community spirit. We argue that the findings indicate a need for much greater resident involvement in rural regeneration projects. © 2022 The Author(s). Published by Informa UK Limited, trading as Taylor &Francis Group. | Ethnographic | China | Zhejiang province | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85138284586&doi=10.1080%2f20507828.2022.2110779&partnerID=40&md5=4e6f0e2bb163151de99d6cf634209d3d | ||||||||||||||||||
25 | Schaller S.F.; Howe A.; McKinney C.; Shoenfeld S. | Making power visible: Business improvement districts and creative placemaking in Washington, DC | 2023 | Business improvement districts represent a privatising urban governance instrument that visibly transforms urban landscapes. In the United States, the racialised impacts of business improvement districts require examination. Through a discussion of Washington, DC, a city profoundly injured by racist planning histories, we illustrate how business improvement districts, as part of a broader entrepreneurial regime, have driven gentrification citywide since the late 1990s. Focusing on the intersection of redevelopment and ‘creative placemaking’, we make visible the contradictions embedded in this business improvement district urbanism, which has harnessed the work of a network of actors to revalorise urban space while erasing working class places and in DC, its Black cultural, political and economic space. © Urban Studies Journal Limited 2023. | Comparative Case Study | US | Washington, DC | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85163016129&doi=10.1177%2f00420980231174991&partnerID=40&md5=80c805bb9627bd7b62b3a73fe9c1e7cb | ||||||||||||||||||
26 | Karachalis N. | Temporary use as a participatory placemaking tool to support cultural initiatives and its connection to city marketing strategies—the case of athens | 2021 | For many cities, abandoned or underused spaces pose a major challenge, but temporary use is being manifested as a tool that can offer solutions. So-called “meanwhile spaces” provide opportunities for city officials to create the conditions for the cultural economy to be supported while simultaneously meeting urban regeneration goals and supporting city marketing purposes. In European cities, such as Berlin, Ghent, Nantes, and Bremen, there are examples where “temporary urbanism” is being incorporated into mainstream policy and is forming part of the city’s identity and tourism promotion. Temporary use is discussed in the context of current challenges facing European cities (austerity crisis, unemployment, refugee crisis, lack of affordable housing or office space). In this paper, the focus is on the creative sector. More recently, the COVID-19 pandemic has sparked discussion on how temporary use can cover a community’s needs. In this contextual framework, the scope was to explore the conditions under which temporary use becomes an effective policy tool and discuss management issues and difficulties that may arise. A description and analysis of the particularities of initiatives that were implemented in Athens compared to the ones in other European cities are presented. This paper is partly based on the works of the Athens URBACT Refill project, which included an extended consultation process with local stakeholders. Further field research was conducted regarding how temporary use initiatives with a cultural focus have been managed and the way the relations between owners, managers, and users were formed. Feedback from users and stakeholders’ representatives is presented. The key findings refer to the evaluation of the approaches used in temporary use initiatives with a cultural focus, the future perspectives, and the difficulty with drawing early conclusions on the effectiveness of these initiatives and the impact on the reputation of the city. Finally, the discussion is linked with promoting Athens as a city that allows experimentation by citizens’ groups and cultural initiatives in the context of temporary interventions. © 2021 by the author. Licensee MDPI, Basel, Switzerland. | Ethnographic | Greece | Athens | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85100637448&doi=10.3390%2fsu13041652&partnerID=40&md5=b76ba8ad782fc2e3e130b158e64de323 | ||||||||||||||||||
27 | Sanz T.; Rodríguez-Labajos B. | Arts, place, and sacrifice zones: restoration of damaged relational values in a Chilean sacrifice zone | 2023 | This paper aims to unpack the relational dimension of place and placemaking by analysing how creative actions underpin relational values towards socio-spatial restoration in the sacrifice zone affecting the communities of Quintero and Puchuncaví (QPSZ) in Chile. Sacrifice zones are places permanently subject to environmental damage and lack of environmental regulation. For affected populations in environmentally degraded areas, creative actions such as murals, music, and street performances have become a way to re-establish connections both among humans, and between humans and the environment. To date, little has been theorized on this connection. With this in mind, we use network analysis to analyze which and how relational values are mobilized by artistic actions, and to examine ensuing socio-spatial transformations. Drawing insights from 35 interviews with activists, artists, and residents in QPSZ, we observed relational effects of arts, especially in creation processes, and in representations of local elements and life histories. The materiality of artistic practices raised as a force of placemaking, and so did artistic spaces as promoters of networking and social cohesion, essential for socio-spatial restoration. By bringing together insights from aesthetic politics, human geography, and relational values, this paper contributes to the emerging literature on art committed to tackling socio-environmental crises, and to political–ecological theories on the transformation of degraded areas. © 2022, The Author(s). | Ethnographic | Chile | Quintero and Puchuncaví | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85143990312&doi=10.1007%2fs11625-022-01252-6&partnerID=40&md5=c36a9aa974ab8ca03ec759e66c93d9e7 | ||||||||||||||||||
28 | Bevolo M.; Di Polito S. | “Placecinemaking”, or participatory social design for urban placemaking: Reflections towards a repeatable methodology based on a practice-based approach whereby cinematic storytelling reframes the image of underprivileged neighbourhoods | 2023 | Introduction/purpose: The paper reflexively documents (for the first time) as a consistent approach a participatory, co-creative storytelling practice for organic place branding as developed by the researcher across cinema, digital platforms, and word-of-mouth. Focus of this paper is on the societal impact of an implicit approach, to be structured into a repeatable process. Research limitations: The paper is based on reflexive observations and insights. The original empirical materials were co-created with stakeholders or developed for cinema, creative industry, or other applied uses, with the intent to develop a formalized methodology. Empirical research assets were therefore interpreted, reframed, or reflected upon from the viewpoint of both (a) social sciences and humanities and (b) place branding, leisure direction, and impact viewpoints. Theoretical framework: This paper is presented as a case study. A theoretical justification is provided. Methodology/main research approach: Reflexive reporting of art-based participatory interventions, between activism (action research) and storytelling for place branding. Findings: Reference cases will be grounded in the City of Turin, Italy, and most specifically its underprivileged Mirafiori and Borgo Aurora districts. The paper will frame an organic field practice through reflexively structuring it as a repeatable process. Impacts of an economic, social, and artistic nature will be documented. Specific empirical research assets include: (a) fictional movie and documentary (2014, 2019); (b) video clips, based on participatory interviews; (c) reflexive evidence from original approach bridging (cinematic) storytelling to place branding; (4) information and evidence on economic and social impacts, as extracted from (a) news and other secondary sources, and (b) primary statements from key stakeholders. Conclusions: The paper will offer two key value points: (a) Reflexive externalization by stakeholders of an implicit approach; (b) Potential formalization into a repeatable process, for universal adoption. The authors are committed to achieving the most societal impact through their research and consulting work and the paper will provide the opportunity to transfer findings, learnings, and assets to a wider community of stakeholders, for example, citizens and practitioners, with the required methodological reliability. Practical implications: The focus of this paper is eminently practical in terms of translating an organic practice at the crossroads of the creative industry, cinematic arts, and place branding, into a structured approach, and possibly a process. The outcome will be a reflexive repeatable formalization of the said approach, for future consideration and adoption by place branding leaders and stakeholders, with societal impact as the priority. © 2023, The Author(s), under exclusive licence to Springer Nature Limited. | Storytelling | Italy | Turin | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85160858648&doi=10.1057%2fs41254-023-00300-x&partnerID=40&md5=aebecdcf99a54cfdffc42ef049b18238 | ||||||||||||||||||
29 | Boros J.; Mahmoud I. | Urban Design and the Role of Placemaking in Mainstreaming Nature-Based Solutions. Learning From the Biblioteca Degli Alberi Case Study in Milan | 2021 | Nature-based solutions' (NBS) relevance for tackling environmental challenges has been on the frontiers of urban regeneration mechanisms since the beginning of the 2010s. There is an increasing interest in applying NBS in urban planning and design to build support and engagement for sustainable urban development. However, NBS's operational use as deliberate design interventions is not widely reflected in the scientific discourse, more evidence is needed on how functional and viable aspects of urban nature can be conceptualized in urban design. This calls to explore the ways urban design can advance their understanding as part of place-specific, designed urban spaces. Through an ex-post analysis, the authors examined the design and implementation process of an exemplary NBS project, the Biblioteca degli Alberi park in Milan, part of one of the largest, recent urban regeneration projects in Europe. In a synthetic analysis, design drivers, enablers, and deficiencies are discussed, which affect the park's performance both from human-centered and nature-based perspectives. The park's case demonstrates design actions and considerations affecting all stages of the life-cycle of an NBS, from the creative design phase to the development, use, and management phases, and how urban design can create conditions for amplifying the multifunctional potential of urban ecosystems. The results highlight the importance of integrating an urban ecology perspective in the entirety of the design process when implementing NBS, consequently for a successful re-scoping of urban design and planning practices to infuse human-centeredness with “nature-basedness.” Copyright © 2021 Boros and Mahmoud. | Case Study | Italy | Milan | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85120824138&doi=10.3389%2ffrsc.2021.635610&partnerID=40&md5=9a851178318e90b87f12c9d6827dd103 | ||||||||||||||||||
30 | Green A. | Australian silo art: creative placemaking in regional communities | 2020 | Purpose: This paper aims to explore the capacity of Australian silo art from a creative placemaking perspective. The paper also takes up this case as fertile ground for probing into the complexity of creative placemaking. Design/methodology/approach: The case study approach is exploratory, drawing on public documents and media sources to thematically (i.e. qualitatively) analyse the factors, actors and processes that pertain to how Australian silo art can contribute towards empowering communities, activating everyday spaces and, ultimately, making socially connected and resilient places. Findings: Each theme encapsulates a particular interplay: (1) physical space – social place, (2) past – present – future place, (3) bottom-up – top-down energies, (4) residents – tourists, (5) urban – nonurban place and (6) material – digital place. Research limitations/implications: Rather than proffering conclusions about the current impact of silo art on local communities, the paper illuminates the practical workings of silo art as a potential form of creative placemaking. Additionally, thinking of creative placemaking in terms of ongoing interplays could stimulate and expand knowledge and practice in this domain. Originality/value: This paper initiates and charts a course for a rigorous and critical investigation into silo art as a substantive cultural and artistic phenomenon and a meaningful chapter in regional arts and creative placemaking in Australia. The interplays distinguished provide an additional basis for probing further into the many layers and overall complexity of creative placemaking. © 2020, Emerald Publishing Limited. | Case Study | Australia | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85096608294&doi=10.1108%2fJPMD-11-2019-0101&partnerID=40&md5=5eb193ce7472c60f71ee50d021684fcd | ||||||||||||||||||
31 | Seldin C. | The Voices of Berlin: Busking in a ‘Creative’ City | 2020 | The city of Berlin is often advertised as one of the most prominent creative cities today. In the past two decades, its marketing agencies have constructed a carefully crafted urban image designed to attract the young, mobile and creative workers that move the contemporary economy. To do that, they rely on cultural temporary uses that enable selected urban spaces to have the desired ‘cool’ and authentic ambiance that distinguishes this city from others within the competitive global network. This paper investigates the phenomenon of abundant street performers in the German capital to find out if and how these artists perceive their role and instrumentalisation within these creative policies. The field research carried out through the method of ethnography reveals that their understanding of their art as small resistances in urban space often clashes with their use in broader placemaking schemes that have negative consequences. The article begins with a discussion of creative policies in Berlin from an Urban Planning point of view, highlighting how it encourages the migration of young artists and creative professionals. It then analyses the definitions of busking in the existing literature in the Social Sciences to understand its potential as a builder of sociability. Moreover, it draws on theories that speak of the “looseness” of space and the idea of tactically appropriating a place through art to build an interdisciplinary approach between the different fields. Lastly, it presents the case study, using the performers’ own testimonials to draw conclusions about the temporary uses of urban space within a broader urban context. © 2020. All Rights Reserved. | Ethnographic | Germany | Berlin | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85104058224&doi=10.3384%2fcu.2000.1525.20200609a&partnerID=40&md5=66f9d385511582883f2f198ff54988c4 | ||||||||||||||||||
32 | Markusen A.; Nicodemus A.G. | Arts and the city: Policy and its implementation | 2020 | The United States offers a decade-long illustration of the implementation of a major policy initiative for art and culture across the nation's cities and towns. In this article, we focus on the National Endowment for the Arts (NEA), and its companion ArtPlace and Our Town initiative around place-making, as they have developed since 2009. We describe the challenges that almost eliminated the NEA in the 1990s, the subsequent advocacy shift towards the economic impact of the arts, and the emergence of the Our Town initiative in 2011. We analyse the policy initiatives, their rationales and implementation. We conclude with lessons and ways to improve practice in relation to the roles of artists and arts organizations covering issues of displacement, gentrification and racism (often unanticipated challenges for communities and funders); the impact of the arts in economic terms; and evaluative challenges for funders and place-makers, especially given cultural diversity and 'place-keeping' priorities. © Alexandrine Press. | Scoping analysis | US | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85085892416&doi=10.2148%2fbenv.46.2.182&partnerID=40&md5=872b5c9fc10528edcc39f1c0f0c82645 | ||||||||||||||||||
33 | Beck D.; Brooks S. | Social enterprise and the development of cultural heritage assets as catalysts for urban placemaking | 2019 | This paper aims to establish the value of urban cultural heritage sites to local population centres as a means to strengthen community bonds and form new hubs of social activity. Sympathetic, sustainable regeneration of such shared assets can often create opportunities for new forms of Social Enterprise, and their powerful historical identity can greatly assist with further placemaking within established urban environments. The Hotwalls Studios comprises thirteen self-contained artist’s studios and workshops housed within the historic casemate arches of Point Battery, a defensive fortification situated at the mouth of Portsmouth Harbour. As the centrepiece of the site, the studios have been deliberately designed as passive environments in which artists and visitors are encouraged to interact and engage with one another, with the goal of improving communities through cultural and social endeavours. The site now plays host to regular arts-based events, including exhibitions, seasonal markets and public activities. In the context of this recent project in Portsmouth, UK, we hope to demonstrate that such developments greatly benefit both heritage sites and local populations. Providing financial security, nurturing social and creative pursuits, encouraging sustainable design and reinvigorating communities with a new understanding of a shared historical and cultural identity, are all benefits of a framework which we believe can be successfully applied to many such sites throughout the world. © Springer International Publishing AG, part of Springer Nature 2019. | Ethnographic | UK | Portsmouth | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85048061031&doi=10.1007%2f978-3-319-92102-0_33&partnerID=40&md5=4f50305bb1597095d7e678505cc48fc6 | ||||||||||||||||||
34 | Wilkinson C.; Wilkinson S.; Saron H. | “Wearing Me Place on Me Face”: Scousebrows, Placemaking and Everyday Creativity | 2021 | This paper emerges from a multidisciplinary research project called “Brews and Brows: Shaping Stories from Eyebrows to Scousebrows” that entailed gathering stories about eyebrow grooming from women and men from the city of Liverpool, UK, and creating a new taxonomy of the eyebrow where none currently exists. The point of departure for this paper is to challenge the negative commentary on the Scousebrow in the press and social media by engaging people in discussions surrounding the personal significance of eyebrow shaping and styling. In challenging this denigration, this paper uses data from in-depth interviews with eyebrow artists and clients and ethnographic interviews at a four-day event held in Liverpool. This paper argues that the everyday (little c) creative practice of eyebrow grooming is not only an important part of crafting and performing identity, particularly for Scouse women, but also an example of bottom-up placemaking in the city of Liverpool. © 2019 Informa UK Limited, trading as Taylor & Francis Group. | Ethnographic | UK | Liverpool | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85102440822&doi=10.1080%2f1362704X.2019.1628525&partnerID=40&md5=528604a20768153f6521504b2f968fdf | ||||||||||||||||||
35 | Rapanta C.; Madrazo L.; Aparicio M.I.; Fonseca N.; Pinto R.; Verovšek S. | ASSESSING THE QUALITY AND SOCIAL IMPACT OF CREATIVE PLACEMAKING PRACTICES; [VALUTARE LA QUALITA E L'IMPATTO SOCIALE DELLE PRATICHE DI "PLACEMAKING" CREATIVO]; [VREDNOTENJE KREATIVNIH PRAKS USTVARJANJA PROSTORA SKOZI SPREMINJANJE VREDNOT IN VPLIV NA DRUŽBENO-FIZIČNE PODOBE PROSTORA] | 2021 | Placemaking and creative placemaking aim at transforming public spaces by fostering new bonds between people and places. The multiple actors involved in a creative placemaking practice - artists, residents, social scientists, politicians, investors, etc.- need to agree on the objectives as well as in the way to achieve them and evaluate them. However, the design, implementation and evaluation of creative placemaking are three inseparable actions of a single process: the construction of a sense of place. Thus, agreeing upon the objectives of a placemaking action, and the ways to assess to which extent the pursued goals have been achieved poses a range of difficulties: which goals are most relevant and why, which placemaking practices are most appropriate to achieve which goals, and which are the evaluation criteria and tools to assess the performed activities, these are issues that cannot be easily disentangle from each other. In the A-Place project, we have developed an assessment framework to identify the generic traits involved throughout the overall process of a creative placemaking practice, as well as the criteria to assess its specific quality and social impact. © 2021 Historical Society of Southern Primorska of Koper. All rights reserved. | Scoping analysis | Multiple | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85122793471&doi=10.19233%2fASHS.2021.27&partnerID=40&md5=2ff8942a8bcbd6c584c7cd9c899906ea | ||||||||||||||||||
36 | Duffy M. | Festival and Spectacle | 2019 | Festivals and spectacles are significant to geographic inquiry as examples of the complex and diverse processes of placemaking and the constitution of identity operating within local and global contexts. Geographical literature focusing on festivals and spectacles ranges from studies of their cultural region, diffusion, and ecology to more recent analyses of the constitution of identity and place, collective belonging, social cohesion, cultural commodification, place regeneration, tourism, affect, and embodiment. Festivals and spectacles are important communal activities, expressing historical traditions and allegiances and constructing particular social and political identities. They are also forms of commodity that bring both social and economic capital into a community. They are actively constructed by local groups, governments, organizations, and audiences as representative of local communities situated in a particular place, celebrating local communal identity. The festival is an increasingly popular tool for initiating economic renewal, promoting community participation, enhancing community creativity, and fostering community well-being. Nonetheless, we can critique the use of festivals as a tool for economic renewal because using them as such can mean little more than renewing a neoliberal agenda. Festivals also function as sites in which hegemonic practices can be subverted, or in which notions of identity, community, and belonging can be playfully questioned or challenged. © 2020 Elsevier Ltd. All rights reserved. | Scoping analysis | Multiple | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85144656741&doi=10.1016%2fB978-0-08-102295-5.10818-2&partnerID=40&md5=deb093300d3795e49480b17c0cb39a92 | ||||||||||||||||||
37 | Rich M.A. | ‘Artists are a tool for gentrification’: maintaining artists and creative production in arts districts | 2019 | This study investigates the relationship between arts-themed development and the strategies used by neighborhood stakeholders, including artists and other marginalized populations, to maintain their place in gentrifying arts and cultural districts. Using a case study of a state-sanctioned Arts & Entertainment District in Baltimore, MD (U.S.A.), I find that the organizations that are ‘thoughtful’ in their development actively seek to maintain the production of arts and the residency of artists in the neighborhood into perpetuity. At the same time, the influx of arts-themed development helps raise property values and spurs re-colonization of the neighborhood’s large industrial buildings, making it difficult for artists to find legal, affordable live/work spaces in the district. As illegal DIY artists’ spaces are increasingly scrutinized by city inspectors, artists and other marginalized populations lose territory in the district and feel that they are being used for capital interests. This paper evaluates arts-themed development and public–private partnerships as a strategy for maintaining artists in revitalizing neighborhoods and considers the possibilities for a more inclusive arts district through political and community engagement. © 2017, © 2017 Informa UK Limited, trading as Taylor & Francis Group. | Case Study | US | Baltimore | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85029407519&doi=10.1080%2f10286632.2017.1372754&partnerID=40&md5=ce23247d461810128b337a32af95f40c | ||||||||||||||||||
38 | Peppas M.; Ebrahim S. | Cultural Ecology, City Tourism, Future Scenarios: A Great City in the Making | 2019 | African cultural elements became deeply absorbed into the Art Deco Movement. The African impact on a widening artistic milieu was felt across the globe. Influences appear in the form of zigzags, masks, sunbursts and geometric shapes. Taking a cue from the eclecticism of the Art Deco Movement, a new genre emanating in the form of Deco Nouveau Afrique (DNA) ignites the energy of Africa into techno-organic arts, ecology and humanity. In the coastal city of Durban, South Africa, the Green Heart Movement seeks to foreground a ‘heart in eco-art’ experience that heightens cultural consciousness by weaving wind, wave, sun and fuel cell technologies in support of the expanding clean-green philosophy. The DNA aesthetic blends African indigenous knowledge systems into creative activations that offer the world an alternative direction in human achievement and social cohesion. The aim is to engage the multicultural citizens in the branding of Durban as ‘Green Heart City’ with a view to positioning the city at the forefront of the green economy. At the heart of the initiative is the placemaking potential of the eco-city to inspire citizens to collectively reimagine and reinvent public spaces. A key element in the City Identity Project is the BunnyKat puppet doll made by indigenous crafters in a peri-urban valley on the outskirts of the city. The BunnyKats are ‘social heroes’ and act as cultural signifiers of Green Heart City. The puppet dolls have South African flags and green hearts on their hand-crocheted jerseys. BunnyKat costuming is green-themed blended with brightly coloured attire. The BunnyKats have a diversified appeal that enables them to leap across boundaries of geography, ethnicity and age. The BunnyKat motto is: ‘Read Write Draw … X-plaw!’ emphasising the values of learning, curiosity and artistic responsiveness. Central to the DNA aesthetic is ‘Africa Rising’ and the promise of the Great Continent awakening to a bright and bustling future. Inclusive processes that unify people, environment and landscape are harnessed at the crossroads of eco-arts, industry, design and the African spirit of Ubuntu. The entrepreneurial fervour of DNA extends into ‘unplugged’ board games set in Green Heart City Durban intended to focus on urban settings while fostering linkages with rural villages in the mechanics of the Maker Movement and tabletop gaming. © 2019, Springer Nature Switzerland AG. | Case Study | South Africa | Durban | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85090362735&doi=10.1007%2f978-3-030-10804-5_15&partnerID=40&md5=c8fe62e74c331900dc33bc6416bef0d0 | ||||||||||||||||||
39 | Trivic Z. | Bringing Arts Closer to Local Communities: Spatial Opportunities and Impacts on Community Bonding | 2020 | ‘Arts and Culture Nodes’ is an initiative launched by Singapore’s National Arts Council (NAC) in 2012 to bring quality arts closer to where people live, foster regular arts engagement, enrich public life and build stronger community bonds. The key mechanism employed was not only creating a comprehensive network of partnerships with artists and various neighbourhood institutions, such as community and recreational clubs, libraries and non-profit organisations across the island, but also activating a range of neighbourhood public spaces as more informal arts and culture venues. This chapter first outlines the research conducted in five Singaporean neighbourhoods to investigate spatial, social and participation impacts of the ‘Nodes’ initiative. Guided by the ‘Neighbourhood Arts and Culture Impact Assessment’ (NACIA) framework and the conceptual lenses of placemaking and cultural ecology, this chapter then discusses the roles and capacities of arts and culture initiatives in building sustainable community arts development and resilient local urban communities. © 2020, Springer Nature Singapore Pte Ltd. | Case Study | Singapore | Singapore | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85064731940&doi=10.1007%2f978-981-13-7048-9_7&partnerID=40&md5=e93e486e55ed0f44f247c2c900717248 | ||||||||||||||||||
40 | Lovell V. | Artists and the public spaces of the city | 2020 | The paper presents the variety of ways in which contemporary artists and curators are engaging with the city today. Public art, in its many manifestations, from monument to ephemeral sculpture, forms our mental image and memory of a city. Artists are contributing to the vibrancy of the city right across the public realm, from development, transport, health, sport, education and faith, and fi nding ways of engaging the public meaningfully in the creative process. Focusing on London, a sample of formal and informal commissioning practices in 'public art' is presented, from its procurement through the planning process to non-commissioned 'guerilla' street art. The role of artists on design teams and the value of one-off installations and temporary programmes of sculpture and light will be explored, alongside the range of patronage of public art today. Aff ordable studio spaces for artists are a continual issue in a city with rising property values: the paper cites models for retaining artists' homes and studios as well as problems encountered by creatives being forced ever further from now peripheral areas. Many contemporary art galleries are also fi nding themselves 'priced out' of the centre, bar the more established international galleries. Since artists and galleries have been responsible for regenerating entire districts, can their presence be safeguarded through planning regulations?. © Alexandrine Press. | Case Study | UK | London | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85085874994&doi=10.2148%2fbenv.46.2.214&partnerID=40&md5=e75953fa33e705e28ce0ebf8dfc50bda | ||||||||||||||||||
41 | Egami K. | East Asia informal networks beyond the borders: sharing of ideas, skills, and experiences against capitalization of the commons | 2018 | This article focuses on the practices of networking by cultural collectives relating to art/activism in Asia. In recent years, independent, grassroots cultural and social spaces based on equal membership and multi-level networks have been created in this area. These spaces also function as experimental places to create models of alternative societies featuring sustainable lifestyles by connecting people beyond separate genres, such as art, music, agriculture, and craft. Thus, the practice of creating such places leads to an attempt to form new social relationships for common life, creation, and labor through the networking of individuals’ lives, which have become withdrawn, isolated, and forcefully separated by repressive social structures. Moreover, gathering at these places creates a collective subjectivity and shared emotions among their members. In many areas, collective political and artistic practices have been created, which transcend borders, cultures, and languages. The sharing processes of such practices have been steadily advancing. © 2018, © 2018 Informa UK Limited, trading as Taylor & Francis Group. | Ethnographic | Japan | Tokyo | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85054184401&doi=10.1080%2f14649373.2018.1497906&partnerID=40&md5=9f9adba99f193f323be2df3b8b83da0a | ||||||||||||||||||
42 | Håkansson I. | The socio-spatial politics of urban sustainability transitions: Grassroots initiatives in gentrifying Peckham | 2018 | This paper examines how grassroots sustainability initiatives take shape in a specific socio-economic context. It argues that such initiatives are best conceived of as exercises in material, socio-cultural, and political-economic ‘placemaking’ which is especially evident in the gentrifying urban environment. A gentrification perspective highlights the ways in which initiatives are influenced by their local socio-economic milieux and, vice versa, can influence the socio-economic restructuring of their neighbourhoods. The paper draws on an ethnographic case study in the neighbourhood of Peckham, South London. It describes and analyses how overarching economic interests in neighbourhood development as well as culture, class, race, and other aspects of identity—simultaneously and interdependently—determine initiatives’ emergence and evolution. It draws attention to the fact that the distribution of costs and benefits associated with sustainability initiatives is not ‘neutral’. In doing so, it questions common, overly positive views of grassroots initiatives. © 2017 Elsevier B.V. | Case Study | UK | Peckham | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85031804097&doi=10.1016%2fj.eist.2017.10.003&partnerID=40&md5=7596a954211e9511b215c50b7a872137 | ||||||||||||||||||
43 | Andrews R.S. | Arts Entrepreneurship: Creating a New Venture in the Arts | 2019 | Arts Entrepreneurship: Creating a New Venture in the Arts provides the essential tools, techniques, and concepts needed to invent, launch, and sustain a business in the creative sector. Building on the reader's artistic talents and interests, the book provides a practical, action-oriented introduction to the business of art, focusing on product design, organizational planning and assessment, customer identification and marketing, fundraising, legal issues, money management, cultural policy, and career development. It also offers examples, exercises, and references that guide entrepreneurs through the key stages of concept creation, business development, and growth. Special attention is paid to topics such as cultural ventures seeking social impact, the emergence of creative placemaking, the opportunities afforded by novel corporate forms, and the role of contemporary technologies in marketing, fundraising, and operations. A hands-on guide to entrepreneurial success, this book is a valuable resource for students of Arts Entrepreneurship programs, courses, and workshops, as well as for early-stage business founders in the creative sector looking for guidance on how to create and sustain their own successful venture. © 2020 Taylor & Francis. All rights reserved. | Toolkit | Multiple | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85122168750&doi=10.4324%2f9781315712635&partnerID=40&md5=04f413d9fe131e29dad03befdd226dcd | ||||||||||||||||||
44 | Paul J.; Bloomfield S. | Decolonising landscape architecture education in Aotearoa New Zealand | 2020 | Aotearoa is growing rapidly with expansive development occurring across the country as the creative and design industry responds to support the diverse needs of the growing population. This enables opportunities for emerging practitioners in the built environment to engage with communities and develop their cultural literacy and contributes to the wider shift in architecture education. This paper discusses the cultural values-based approach developed for a design studio where Unitec’s Department of Landscape Architecture partnered with Panuku Development Auckland on the Kia Puāwai a Pukekohe town centre transformation project. Core to this partnership the students have explored current and new approaches to understanding how to engage with mana whenua and understand placemaking as key elements of community development and urban regeneration. This design studio acts as a platform which creates space to enable students to engage in real world challenges and projects and develop relationships with real clients. Creating real world learning opportunities on both sides of the partnership. This creates opportunities for students to design and address social and cultural issues. This process also allows students to immerse themselves in contributing to and shaping their own living environments. They cover problem definition and identification of latent opportunities; brief generation; site analysis; master-planning processes; ‘local’ scale design responses and relevant instrumental design theory. This case study provides a series of tools regarding diverse approaches to integrating inclusive studios which aims to inform better long- term outcomes to deliver and build capacity and capability in landscape architecture. © 2020 and published by the Architectural Science Association (ANZAScA). | Case Study | Aotearoa/New Zealand | Aotearoa | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85103613663&partnerID=40&md5=4342b25dfffb6ebda0dc65e45852475d | ||||||||||||||||||
45 | Li X.; Liu R. | Urban villages as incubators of creativeclusters: The case of Guangzhou | 2019 | Since the mid-2000s, cultural and creative clusters, especially arts clusters, have flourished across cities and towns in China as a result of local governments' efforts to establish the cultural and creative sector for urban regeneration. Although many clusters arose organically without policy directives, some later encountered intense government interventions after being officialised as the city's strategic cultural industry bases. Arguing that this top-down creative placemaking approach, although seemingly commercially successful, overlooks the needs of grassroots artists - thus compromising the creative nature of the cluster - this paper highlights the nurturing socioeconomic environment attractive to grassroots artists and other creative people created through a bottom-up approach. Through case studies of two arts clusters in Guangzhou, we find that organically grown, village-based artist clusters can better nurture creative people than planned arts districts, for these clusters feature a flexible and autonomous land development arrangement, frequent interactions between artists and village residents, and a broad spectrum of entrepreneurial opportunities. © 2019 Liverpool University Press. All rights reserved. | Case Study | China | Guangzhou | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85068354308&doi=10.3828%2fidpr.2019.19&partnerID=40&md5=cfb202bb58522bd131593b332cb0e142 | ||||||||||||||||||
46 | Umney C.; Symon G. | Creative placemaking and the cultural projectariat: Artistic work in the wake of Hull City of Culture 2017 | 2020 | Cultural work attracts much sociological interest and is often seen as typifying ‘precarity’. However, this scholarship rarely examines how ‘placemaking’ policy interventions affect the concrete conditions of cultural work. We study a major recent public/private policy intervention in the United Kingdom: Hull City of Culture 2017. This intervention embodied a multifaceted set of policy logics, combining the desire to boost arts participation, with a market-facing imperative to bolster the city’s ‘brand’. We examine what happened to the city’s ‘cultural projectariat’ (meaning those workers whose career depends on assembling sequences of discrete, time-limited funded cultural projects) during this event. The influx of funds created opportunities for good-quality work, but specific sources of insecurity persisted and in certain respects intensified: including the need for significant unpaid work and permanent competition for resources. City of Culture’s nature as a market-oriented ‘placemaking’ intervention limits its capacity to ameliorate the conditions of cultural work, which has to be conceived as a policy end in itself if conditions of the cultural projectariat are to be improved. © The Author(s) 2019. | Ethnographic | UK | Hull | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85074850726&doi=10.1177%2f0309816819884699&partnerID=40&md5=7be3f8e478ea5c89abdb2fce63d05b13 | ||||||||||||||||||
47 | Taylor J.K. | Art Practice as Policy Practice: Framing the Work of Artists Embedded in Government | 2021 | Embedded artists in government incorporate connect art methods and esthetic perspectives in non-arts contexts, working in collaboration with government staff whether through their own professional choice or through a formal program established by a government agency or arts organization. This article contextualizes embedded artists in government in connection to artist residencies in the art world, arts in non-arts contexts, and creative placemaking to understand how work is framed and to demonstrate potential impacts while making suggestions for future research. Benefits include cross-sector collaboration and idea generation, with the potential for agency culture shift and systems change in how civic work supports residents. © 2021 Taylor & Francis Group, LLC. | Ethnographic | US | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85107462416&doi=10.1080%2f10632921.2021.1925193&partnerID=40&md5=d093b9235041597aa478ac54d5a1f1a1 | ||||||||||||||||||
48 | Fanzini D.; Venturini G.; Rotaru I.; Parrinello C.; de Cocinis A. | Placemaking for the regeneration of the Costanzo Ciano neighbourhood in Piacenza; [Placemaking per la riattivazione del quartiere Costanzo Ciano di Piacenza] | 2020 | This article provides insights on the urban regeneration project conduced in the densely populated centre of the “Costanzo Ciano” neighbourhood of Piacenza. Financed by MIBAC - Ministry of Heritage and Culture through the Creative Living Lab programme, the project is configured as a participatory urban regeneration action (Placemaking) aimed at testing various possible solutions for a more structured future renewal intervention. The organisational formula adopted distinguishes through the active involvement of the inhabitants at both the design and realisation stages. The output consists in the product to which the inhabitants have contributed but also, and most importantly, in the social relationships which have been formed, through which, the functional plan for the future renewal intervention has been laid out. The experience coherently follows the URBACT method principles while its cultural and practical; implications refer to both the “dilemmas” theme1 posed by the current European debate regarding the strategic development of public spaces and the Placemaking tool in the Living Labs 2.0 formula2, for an innovative governance straddling theory and practice. © 2020 Firenze University Press | Thematic Study | Italy | Piacenza | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85091209367&doi=10.13128%2ftechne-7830&partnerID=40&md5=f679e41f4445b7a011db8c2d79e4a534 | ||||||||||||||||||
49 | Platt L.C. | Crafting place: Women’s everyday creativity in placemaking processes | 2019 | Amid a resurgence of domestic craft, this article contends that everyday creative practices of women are part of placemaking processes in the creative city. Specifically, the research focuses on Liverpool in the Northwest of England, the so-called (and self-proclaimed) ‘centre of the creative universe’. This article utilized in-depth semi-structured interviews with members of knitting groups and the city centre Women’s Institute to explore how women use craft practice to create a sense of self and attachment to place. The idea of women gathering to craft is enduring, and is examined here to understand affective labour and the role that creativity plays in the urban experience of women. It is argued that the groups demonstrate a lack of engagement with the wider market and official placemaking processes, but instead demonstrate an element of self-valorization. The article challenges thinking around culture-led placemaking in cities like Liverpool, where discourses of creativity have been used as a driver for regeneration by shifting the emphasis onto seemingly banal settings on the edges of the so-called creative city. While urban placemakers have been more recently concerned with developing hubs of creative industries, the role of these groups that are not producing a profitable ‘product’ should not be underestimated or exploited. © The Author(s) 2017. | Ethnographic | UK | Liverpool | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85047392687&doi=10.1177%2f1367549417722090&partnerID=40&md5=52e895486a25de7ee4bf4e4b4788bab8 | ||||||||||||||||||
50 | Najva S.; Mohammadi H. | Culture-led regeneration in a persian historical city centre: A case study of the karim khan-e zand complex | 2019 | In recent decades, the dramatic growth of urbanisation and modernism has had significant effects on historic city centres, the most negative of which is the phenomenon of ‘placelessness’ in the historical fabric. Therefore, urban design that maintains the historical fabric concentrates on the priority of ‘placemaking’ and aims to provide a ‘unique place’ in the city centre. 1 Culture-led regeneration can enhance the symbolic centre of cities and improve the character of the area and the power to attract citizens, tourists and investors. The old and valuable centre of Shiraz, the cultural capital of Iran, is considered at the national and international level an appropriate example of how to use culture as the catalyst for regeneration because of its cultural and historical past as well as its iconic buildings and places. This research paper attempts to model the relationship between culture and regeneration in historical city centres. Questions addressed in this study include: what models can be used in the regeneration/culture relationship in historic city centres and how do they work? Which characteristics make Karim Khan-e Zand unique? What culture-led regeneration policies were used in the Karim Khan-e Zand Complex?. © 2019, Henry Stewart Publications. All rights reserved. | Case Study | Iran | karim khan-e zand | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85064217836&partnerID=40&md5=d9b637487c4c48a76ec35a85b679ca4c | ||||||||||||||||||
51 | Prawata A.G. | Playful urban intervention as creative placemaking strategy in Jakarta | 2020 | This paper will discuss the interventions made by designers, artists and architects towards the urban and public spaces in Jakarta. Their urban interventions are intended to encourage creative activities, and playful experience amongst the citizens. The discussion will be based on the playful urban intervention activities during the Jakarta Architecture Triennale hosted by Indonesian Institute of Architects, Jakarta chapter. The interventions have the importance to be the urban fabrics that can create vibrant atmosphere to support the city, and they can be part of the creative sustainable city concept. © 2020 Published under licence by IOP Publishing Ltd. | Ethnography (Participatory Action Research) | Indonesia | Jakarta | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85082600733&doi=10.1088%2f1755-1315%2f426%2f1%2f012083&partnerID=40&md5=7d9d1cf4128414754b21427e8be1bb06 | ||||||||||||||||||
52 | Lukić I.V. | Placemaking, local community and tourism; [Koncept preoblikovanja mjesta, lokalna zajednica i turizam] | 2021 | The challenges of modern tourism development increasingly indicate the need for new approaches based on the creative use of intangible assets and heritage, and a more harmonious relationship between the local community and tourists. Placemaking is one such approach, which goes to the core of what builds places and local communities. This paper looks at the evolution of the concept, and its approaches and definitions. Among the tools of placemaking, tangible (physical design), intangible (mental images), and mixed approaches are recognized. The examples in this paper have been selected mainly from tourism and community development studies. Quality placemaking leads to the development of a sense of place, increases social cohesion, and stimulates the long-term regeneration of public spaces, which contributes to tourism attractiveness. In this light, the concept of placemaking can serve as a useful analytical category for more systematic research on spatial transformations and as a development tool in strategic tourism planning. © 2021, Croatian Geographical Society. All rights reserved. | Case Study | Croatia | Zagreb | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85111401169&doi=10.21861%2fHGG.2021.83.01.04&partnerID=40&md5=bfa8ae32f767d3a27d02d0c07fc7cccd | ||||||||||||||||||
53 | Nieuwland S.; Lavanga M. | The consequences of being ‘the Capital of Cool’. Creative entrepreneurs and the sustainable development of creative tourism in the urban context of Rotterdam | 2020 | This article analyses how creative entrepreneurs perceive the development of tourism; it looks at creative placemaking in tourism and reflects on the role of creative entrepreneurs in the sustainable development of tourism. To do so, we conducted semi-structured interviews with creative entrepreneurs in the city of Rotterdam, the Netherlands. We choose a city in an early stage of tourism development but in a more advanced stage of culture-led urban regeneration. Although Rotterdam has a long history of strategies to change its image into a creative one, only recently has the city experienced an increase in media attention and a growing number of domestic and international tourists. This offers a unique opportunity to explore tourism development at an early stage. Our results nuance our understanding of the relations between creative entrepreneurs, placemaking, and tourism. Although the creative entrepreneurs in our sample consider themselves placemakers, issues such as equality, inclusiveness, and avoiding gentrification are still not adequately addressed. From a policy perspective, this study emphasises the need to take into account the fundamental question of whose city Rotterdam is and who benefits from the urban and tourism development strategy. © 2020 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. | Case Study | Netherlands | Rotterdam | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85095779027&doi=10.1080%2f09669582.2020.1841780&partnerID=40&md5=8a8a75c0e4987461bc84836f31d1adce | ||||||||||||||||||
54 | Kiroff L. | Nexus between creative industries and the built environment: Creative placemaking in inner Auckland | 2020 | A significant body of literature has examined the location decision-making of creative industry firms. However, research on the nexus between design creative industries and the built environment remains limited. The key finding of this qualitative research is that design creative industries are mostly the users of the inner city's former industrial buildings that are occupied on leases from property owners who are responsible for the initial physical upgrading. This condition is largely due to the low level of property ownership among this group and the lack of incentive to invest additional capital to their business properties. Therefore, design creative industries cannot be conceptualized as leading actors in urban redevelopment or initiators of urban transformation on a large scale. Instead, they represent a latent demand for physical space and a rich source of inspiration and creative potential. In this regard, design creative industries play a key role as enablers of postindustrial real estate development driven by proactive property developers who transform former industrial buildings into a new form of revenue-generating urban commodities. © 2019 The Author | Ethnographic | Aotearoa/New Zealand | Aukland | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85073993713&doi=10.1016%2fj.foar.2019.08.004&partnerID=40&md5=a5f1b89a76d4bab90878ab4c3f35515b | ||||||||||||||||||
55 | Cheung M.; Smith N.; Craven O. | The Impacts of Public Art on Cities, Places and People’s Lives | 2021 | Public art’s accessibility to a broad audience and its potential to bring together individuals from diverse backgrounds have granted it a unique power to make strong, enduring impacts on cities, places and people’s lives. The impacts warrant a systematic review and categorization, the results of which will provide insights that contribute to justifying the integral place of public art in society. As no such systematic review has previously been carried out, this article seeks to provide a qualitative synthesis of original articles selected from four major databases of international journals using a combination of keyword searches and filtering procedures. The 839 articles retrieved from the initial searches were screened by title and abstract. The remaining 132 articles were read in full, with 50 studies eventually being selected for analysis and synthesis. The public art impacts identified were organized into eight categories, in terms of placemaking, society, culture, economy, sustainability, wellbeing, wisdom and innovation. Implications were then drawn with respect to future research on the impacts and evaluation of public art. © 2021 Taylor & Francis Group, LLC. | Scoping analysis | Multiple | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85119208369&doi=10.1080%2f10632921.2021.1942361&partnerID=40&md5=06d57537757b24a066f04dd8ae6eb6ac | ||||||||||||||||||
56 | van der Hoeven A.; Hitters E. | The spatial value of live music: Performing, (re)developing and narrating urban spaces | 2020 | This paper examines the spatial value of live popular music by adopting an inter-disciplinary approach grounded in urban and music studies. What is understood of the relationship between live music and the built environment is improved, with a focus on how this cultural form contributes to performing, (re)developing and narrating urban spaces. The post-industrial city has become a stage for events that serve a wide range of social, cultural, economic and spatial objectives. However, the densification of the built environment has led to a debate about the extent to which live music's positive outcomes outweigh the nuisance experienced by residents in terms of noise and the unavailability of public spaces. Furthermore, small venues in many cities are struggling with issues of gentrification, implying that the spatial value of music is part of wider concerns about who owns the city and which forms of culture can be produced and consumed in urban centres. Against this background, the paper asks the following questions concerning the spatial value of live music: how can it be defined? What are the challenges to achieving it? How can it be supported in urban planning? The study is grounded in a qualitative content analysis of 24 live music reports and strategies, as well as 10 in-depth interviews with policymakers, festival organisers and venue owners. Also discussed is how the spatial value of live music can be supported in urban policies by building interdisciplinary networks, establishing strategies, and creating and sustaining places for live music events. © 2020 The Author(s) | Ethnographic | Australia | Melbourne | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85092909342&doi=10.1016%2fj.geoforum.2020.09.016&partnerID=40&md5=84a0a27736c0651204042f35d5c0a34b | ||||||||||||||||||
57 | Grant E.; Greenop K.; Refiti A.L.; Glenn D.J. | The handbook of contemporary indigenous architecture | 2018 | This Handbook provides the first comprehensive international overview of significant contemporary Indigenous architecture, practice, and discourse, showcasing established and emerging Indigenous authors and practitioners from Australia, Aotearoa New Zealand, the Pacific Islands, Canada, USA and other countries. It captures the breadth and depth of contemporary work in the field, establishes the historical and present context of the work, and highlights important future directions for research and practice. The topics covered include Indigenous placemaking, identity, cultural regeneration and Indigenous knowledges. The book brings together eminent and emerging scholars and practitioners to discuss and compare major projects and design approaches, to reflect on the main issues and debates, while enhancing theoretical understandings of contemporary Indigenous architecture.The book is an indispensable resource for scholars, students, policy makers, and other professionals seeking to understand the ways in which Indigenous people have a built tradition or aspire to translate their cultures into the built environment. It is also an essential reference for academics and practitioners working in the field of the built environment, who need up-to-date knowledge of current practices and discourse on Indigenous peoples and their architecture. © Springer Nature Singapore Pte Ltd. 2018. All Rights Reserved. | Ethnographic | Multiple | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85053993593&doi=10.1007%2f978-981-10-6904-8&partnerID=40&md5=19b3eeed83c73f53b3894d12d65e5976 | ||||||||||||||||||
58 | Madsen W. | Re-creating community spaces and practices: Perspectives from artists and funders of creative placemaking | 2019 | Creative placemaking occurs in various forms. In this article, four creative placemaking events are evaluated in a single case study from the perspectives of artists and funders to ascertain their understanding of creative placemaking and the contributions that these events make to the community. Situated within critical realism and realist evaluation frameworks, this case study included interviews with five artists and five funders. Three themes were identified from the findings: mechanisms for achieving more inclusive communities; mechanisms for re-creating spaces; and creative contributions now and beyond. Together these were developed into a middle-range theory that suggests that collaboration, connectivity, creating space and altruism can be potential mechanisms leading to a stronger sense of belonging, social cohesion and inclusion. However, the context in which these mechanisms take place plays a substantive role in inhibiting or facilitating these processes. © 2019 Intellect Ltd Major Articles. English language. do. | Thematic/ Case Study | Multiple | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85105663858&doi=10.1386%2fjaah.10.1.25_1&partnerID=40&md5=c50d8e0ed92331b1df493b5b49623277 | ||||||||||||||||||
59 | Knapp C.E. | Constructing the dynamo of dixie: Race, urban planning, and cosmopolitanism in chattanooga, tennessee | 2018 | What can local histories of interracial conflict and collaboration teach us about the potential for urban equity and social justice in the future? Courtney Elizabeth Knapp chronicles the politics of gentrification and culture-based development in Chattanooga, Tennessee, by tracing the roots of racism, spatial segregation, and mainstream "cosmopolitanism" back to the earliest encounters between the Cherokee, African Americans, and white settlers. For more than three centuries, Chattanooga has been a site for multiracial interaction and community building; yet today public leaders have simultaneously restricted and appropriated many contributions of working-class communities of color within the city, exacerbating inequality and distrust between neighbors and public officials. Knapp suggests that "diasporic placemaking"-defined as the everyday practices through which uprooted people create new communities of security and belonging-is a useful analytical frame for understanding how multiracial interactions drive planning and urban development in diverse cities over time. By weaving together archival, ethnographic, and participatory action research techniques, she reveals the political complexities of a city characterized by centuries of ordinary resistance to racial segregation and uneven geographic development. © 2018 The University of North Carolina Press. All rights reserved. | Ethnography (Participatory Action Research) | US | Tennessee | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85057369634&partnerID=40&md5=c902152f635f0b6ec72c9cbfd230a1aa | ||||||||||||||||||
60 | Montgomery A. | Reappearance of the Public: Placemaking, Minoritization and Resistance in Detroit | 2016 | Recent studies of public space in US central cities tend to focus either on (1) market-driven placemaking (privatized parks, hipster shops) in gentrifying enclaves or (2) street cultures (community gardens, hip-hop) in low-income neighborhoods. Neither focus adequately frames the ability of African Americans to shape public space as the white middle class returns to central cities. In this case study of downtown Detroit, I theorize a dialectic: the history of clashes between racial capitalism and social movements in public space reappears in the contradictory design of market-driven placemaking, which suppresses and displays cultures of resistance. White business and real-estate interests showcase downtown spaces to counter news of disinvestment and suffering in low-income neighborhoods. The legal and political legacies of civil rights and black power struggles—combined with consumer demand (black culture sells)—force them to involve black entrepreneurs, professionals and artists in placemaking. This placemaking subordinates the black urban poor, even as it incorporates their street cultures. The contradictions of placemaking shape possibilities for resistance, as shown in mundane subversions and street protests that use the downtown spotlight to call for social justice citywide. This analysis contributes to research on public space at a time when new movements are challenging public order in the financial core of US cities. © 2016 Urban Research Publications Limited | Case Study | US | Detriot | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85015234335&doi=10.1111%2f1468-2427.12417&partnerID=40&md5=d19d0fa214d6d2f67201551fb5dd5cb6 | ||||||||||||||||||
61 | Caneparo L.; Bonavero F. | Neighborhood regeneration at the grassroots participation: Incubators' co-creative process and system | 2016 | Incubators of Public Spaces is a funded JPI Urban Europe project aiming to support the selforganization of places by enhancing the factors that motivate, encourage, and enable the urban actors to reach common understandings in order to coordinate their actions by reasoned argument, consensus, and cooperation rather than strategic thinking only. By catalyzing citizens' willingness to 'do their bit' for improving spaces, it provides the means to grow and care for places. The paper is organized into three main sections. The first section offers a theoretical underpinning on the roots of self-organization and co-creation in urban interventions. After a brief introduction about the project's aims, the second section deals with incubators' co-creative process and system. It describes the running of the scenario workshops and provides an overview of the web platform and its inherent features. The third section presents the results of the application of the incubators method in the regeneration of an Italian neighborhood. It provides some general information about the area, and foresees a set of interventions for both built and open spaces. Conclusions offer early remarks concerning the ongoing experimentation in Incubators. © 2016 Archnet-IJAR, International Journal of Architectural Research. | Co-creation | Italy | Quartiere Mirafiori Sud | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85006054228&doi=10.26687%2farchnet-ijar.v10i2.960&partnerID=40&md5=44ba85c4ac22b053653d0a7cae0ac78d | ||||||||||||||||||
62 | Rich M.A. | Arts districts and the reimagining of neighborhood through arts and culture-based development | 2018 | Post–industrial cities seeking to turn around declining neighborhoods have utilized arts and culture-based development and creative placemaking in their revitalization strategies. As such, state-sanctioned arts and entertainment districts have proliferated in many cities as part of a reimagining of urban neighborhoods through real estate revalorization and redrawing of neighborhood boundaries. While arts districts are often under state – and thus public – oversight, the multiple sources of funding and real estate development within arts districts are generally private, and often sourced from community development corporations, wealthy foundations, and large universities. Declining neighborhoods that are reimagined and redrawn as arts districts may get an influx of arts–themed development, while driving out the very people they were designed to attract – the artists themselves. Much of the literature on the relationship between artists and gentrification has shown how artists are often vulnerable to displacement due to neighborhood redevelopment. Neighborhoods designated as official arts districts are not guaranteed to protect artists and art–related industries within the district; if the neighborhood is economically “successful”, there is evidence that artists and long-term residents will be displaced. Based on ethnographic data and forty interviews with neighborhood stakeholders in a state-sanctioned Arts & Entertainment District in Baltimore, MD (USA), this chapter considers the effects that arts districts and creative placemaking have in the reimagining of neighborhoods, especially the effects (unintended and intentional) on diverse groups of neighborhood stakeholders. © 2019 selection and editorial matter, Christoph Lindner and Miriam Meissner. | Ethnographic | US | Baltimore | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85059561984&doi=10.4324%2f9781315163956&partnerID=40&md5=4375e5a5c822ca7925c770815b43fe6c | ||||||||||||||||||
63 | Foulkes J.L. | Dancing in the Streets: The Arts in Postwar U.S. Cities-Introduction | 2015 | This collection of essays on the arts in postwar U.S. cities offers a historical perspective on the contemporary embrace of the arts as a tool for urban placemaking, neighborhood revitalization, economic boosting, and market branding. Urban historians can add a longer perspective to this trend to explain not only the roots of its current popularity but also more detailed measures of the arts' impact. These essays look at arts institutions, artists as residents, and artworks themselves from the 1950s-70s to uncover the entangled intersection of arts and urbanization - before the arts became a touted salvation for stagnant economies and run-down neighborhoods. © 2015 SAGE Publications. | Essay-collection | US | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-84947243774&doi=10.1177%2f0096144215602005&partnerID=40&md5=67f9826880e611be823454f171c2e2dd | ||||||||||||||||||
64 | Courage C.; McKeown A. | Creative placemaking: Research, theory and practice | 2018 | This book makes a significant contribution to the history of placemaking, presenting grassroots to top-down practices and socially engaged, situated artistic practices and artsled spatial inquiry that go beyond instrumentalising the arts for development. The book brings together a range of scholars to critique and deconstruct the notion of creative placemaking, presenting diverse case studies from researcher, practitioner, funder and policymaker perspectives from across the globe. It opens with the creators of the 2010 White Paper that named and defined creative placemaking, Ann Markusen and Anne Gadwa Nicodemus, who offer a cortically reflexive narrative on the founding of the sector and its development. This book looks at vernacular creativity in place, a topic continued through the book with its focus on the practitioner and community-placed projects. It closes with a consideration of aesthetics, metrics and, from the editors, a consideration of the next ten years for the sector. If creative placemaking is to contribute to places-in-the-making and encourage citizenled agency, new conceptual frameworks and practical methodologies are required. This book joins theorists and practitioners in dialogue, advocating for transdisciplinary, resilient processes. © 2019 selection and editorial matter, Cara Courage and Anita McKeown; individual chapters, the contributors. | Editorial Collection | Multiple | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85059287834&doi=10.4324%2f9781315104607&partnerID=40&md5=d7da61d9e9fd7667297b3d10ff3684f4 | ||||||||||||||||||
65 | Markusen A. | Artists Work Everywhere | 2013 | Despite the specter of artists clustered in inner reaches of a few hip, fashionable cities, people do artwork as a major occupation in most U.S. communities. Artists move across state lines more often than workers in other occupations, and because more apt to be self-employed, for reasons other than a job. The author explores why artists migrate, varying by artistic discipline and age cohort. Some metros home grow more artists by offering nurturing infrastructure. Finding considerable complexity in the spatial distribution of artists over time, the author argues that the bohemian stereotype is inaccurate, undermining respect for artwork as an occupation and for artists' roles in creative placemaking. © The Author(s) 2013 Reprints and permissions: sagepub.co.uk/journalsPermissions.nav. | Ethnographic | US | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-84885971287&doi=10.1177%2f0730888413504418&partnerID=40&md5=3d0e8c0f0d19f964ce91ab0ece1ebc9a | ||||||||||||||||||
66 | Grodach C.; Foster N.; Murdoch J. | Gentrification and the artistic dividend: The role of the arts in neighborhood change | 2014 | Problem, research strategy, and findings: There is a conflict between recent creative placemaking policies intended to promote positive neighborhood development through the arts and the fact that the arts have long been cited as contributing to gentrification and the displacement of lower-income residents. Unfortunately, we do not have data to demonstrate widespread evidence of either outcome. We address the dearth of comprehensive research and inform neighborhood planning efforts by statistically testing how two different groups of arts activities - the fine arts and commercial arts industries - are associated with conditions indicative of revitalization and gentrification in 100 large U.S. metropolitan areas. We find that different arts activities are associated with different types and levels of neighborhood change. Commercial arts industries show the strongest association with gentrification in rapidly changing areas, while the fine arts are associated with stable, slow-growth neighborhoods. Takeaway for practice: This research can help planners to more effectively incorporate the arts into neighborhood planning efforts and to anticipate the potential for different outcomes in their arts development strategies, including gentrification-related displacement. © 2014 © American Planning Association, Chicago, IL. | Case Study | US | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-84906792912&doi=10.1080%2f01944363.2014.928584&partnerID=40&md5=4b94970be05fd801688350dd1fcbb071 | ||||||||||||||||||
67 | Edensor T.; Millington S. | Spaces of vernacular creativity reconsidered | 2018 | Our edited volume, Space of Vernacular Creativity: Rethinking the Cultural Economy (2009) critically responded to the preoccupations that had dominated writing on placemaking in, particular culture-led regeneration. With the inception of creative placemaking and its international uptake, we revisit the book's key imperatives: to decentre instrumental and reductive conceptions about the location of creativity that were oriented around dominant notions of the ‘creative economy’, and interrogate how alternatively, creativity might be far more expansively conceived, within this contemporary frame. We identify what remains salient in our original arguments, which areas we ignored and underplayed, and key contributions that have advanced thinking about creative geographies within the context of creative placemaking since the book's publication. © 2019 selection and editorial matter, Cara Courage and Anita McKeown; individual chapters, the contributors. | Editorial Collection | Multiple | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85059255469&doi=10.4324%2f9781315104607&partnerID=40&md5=eb180b9ab6d28e512961b1f20ebb842d | ||||||||||||||||||
68 | Markusen A. | Creative cities: A 10-year research agenda | 2014 | Over the past decade, under the rubric of creative placemaking, policymakers, planners and practitioners have turned to arts and culture to enliven city life and stimulate urban economies. Good multidisciplinary research has kept pace, but challenges remain. What are the missions of urban arts and culture? How can offerings and engagement become more equitable and diverse? In fashioning good policy and making funding and planning decisions, what do city leaders and advocates need to know about the location preferences of artists, arts organizations and arts participants? I review what we know and don't know to date on these questions, and close with reflections on the potential of arts and cultural research to link to broader urban theories, capitalize on interdisciplinary research and mixed methods, and integrate international research and experience in the field. © 2014 Urban Affairs Association. | Literature Review | US | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-84904874139&doi=10.1111%2fjuaf.12146&partnerID=40&md5=bde367a819f3ee2724ecd4b3a2d79c5f | ||||||||||||||||||
69 | Walker D. | Turning local interests into local action: Community-based art and the case of wrecked! on the intertidal zone | 2018 | This chapter speaks to creative placemaking's heritage (Markusen and Gadwa, 2010) through the collaborative citizen-led social practice project Wrecked! On the Intertidal Zone (2014–16), an interdisciplinary project involving citizens, artists, and activists, drawn from Southend-on-Sea, Essex, UK, to respond to water pollution and high shipping volume in the Thames Estuary, UK. Wrecked! used situated knowledge and citizen science drawn from local stories, histories, and locally-led initiatives to problematise the economically focused policies prioritising London, using art to promote a local agenda in local government. In doing so, it showcased how social practice placemaking (Courage, 2017a, 2017b) can be used alongside arts-led resilient practices (McKeown, 2015) to galvanise local residents, turning local interests into local action. Using Bourdieu's (1986) understandings of different forms of capital this chapter highlights how Wrecked!, as a community-based and artist-led initiative, recognises the value of arts beyond instrumentalising them to boost economic development as posited in creative placemaking thinking. Wrecked! instead utilises artistic practitioners’ cultural capital, outlining the need for new forms of knowledge to redress the damage of economic capital's repeated prioritisation. By utilising different practitioner’ different forms of capital, this chapter argues creative placemaking can benefit communities once local voices are heard. © 2019 selection and editorial matter, Cara Courage and Anita McKeown; individual chapters, the contributors. | Case Study | UK | Southend-on-Sea | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85059288421&doi=10.4324%2f9781315104607&partnerID=40&md5=89b9f396d745b8693d542ea119eb0f41 | ||||||||||||||||||
70 | Shkuda A. | The Artist as Developer and Advocate: Real Estate and Public Policy in SoHo, New York | 2015 | Contemporary scholars have focused on creative placemaking and the role of the arts in urban development, but there is less of an academic understanding of how artists contribute to neighborhood revitalization "on the ground." In New York's SoHo (South of Houston) neighborhood, artists created new methods of urban development in the 1960s by using their labor and design expertise to invent a new form of housing, the loft apartment, in former industrial space. They worked to legalize this novel form of residence through grassroots advocacy, lobbying, and collaborations with leading artists and politicians in New York. Their political advocacy, and the attractive loft homes they created, increased residential demand. By the 1970s, real estate speculation was rampant in SoHo, leading some artists to work with policymakers to rein in development and others to become investors themselves. SoHo's history challenges the artist/developer binary usually associated with gentrification. © 2015 SAGE Publications. | Case Study | US | Houston | https://www.scopus.com/inward/record.uri?eid=2-s2.0-84947243511&doi=10.1177%2f0096144215602008&partnerID=40&md5=b78e61856466cdf72a968e8961de3331 | ||||||||||||||||||
71 | Wilbur S. | It's about time creative placemaking and performance analytics | 2015 | The U.S. philanthropic discourse known as "creative placemaking" unites a historically unprecedented number of institutional investors in the instrumentalization of art toward civic, social, economic, and environmental goals. Since coining the term in 2011, the National Endowment for the Arts has supported 256 arts interventions in all fifty states with funds totaling more than $21 million. Not without its critics, "place-based" grant programs hail artists to collaborate on municipally driven, often six-figure budget initiatives that use culture as a backdrop for "comprehensive community cultural development." Compared to the characteristic shortsightedness of institutional approaches to arts philanthropy in the U.S., many "placemaking" residencies offer significantly expanded periods of cultural engagement between artists, community members, and institutional liaisons. While the discursive emphasis on "place" by institutional investors has incited much debate among policy makers and practitioners, less attention has been paid to the instrumentality of time and embodied interaction within these elongated arts residencies. These exceptional circumstances signal a crucial point of intervention for performance scholarship.In this essay, I study cooperative time spent over the course of one NEA-funded residency to shift foundational understandings about how artists and project participants challenge the mechanisms of capitalism through practical and direct cooperation with institutional agents. Drawing upon project documentation and interview testimony from a team of lead artists, administrators, and community participants, I highlight three temporal strategies through which the Project Willowbrook team failed to faithfully reproduce institutional norms guarding "creativity" and "place". By stalling time (reframing the neighborhood's present-day cultural textures and rhythms), spending time (cultivating conversations with residents about Willowbrook's vexed history of foiled planning), and sub-contracting time (rewriting county art contracts twelve times to account for changes), the team's iterative approach suggests the anti-choreographic possibility that collectively embodied solutions to institutional problems cannot be planned in advance. © 2015 Taylor & Francis. | Ethnographic | US | Los Angeles | https://www.scopus.com/inward/record.uri?eid=2-s2.0-84942521414&doi=10.1080%2f13528165.2015.1071046&partnerID=40&md5=b7dcbf19e01b969411df3d80e1173328 | ||||||||||||||||||
72 | Li X.; Duan B. | Organizational microblogging for event marketing: a new approach to creative placemaking | 2018 | Creative placemaking emphasizes the role of artists and cultural organizations in disseminating cultural products and services, and ultimately in promoting the city’s image. Over the past decade, we have witnessed a surge of cultural events in urban communities, where art and cultural spaces in the form of museums, art galleries, and exhibition halls have proliferated. Yet how to attract different audiences for event organizers to these events remains a challenge. In search of effective event marketing strategies, artists and cultural organizations increasingly rely on social media tools, such as Facebook, Twitter and Weibo (a Chinese microblog). Through an analysis of microblogging data collected through the Application Programming Interface (API) and web scraping, this paper evaluates the effectiveness of museums’ Weibo usage for attracting visitors in the city of Beijing. Applying a machine-learning algorithm and conducting a Kendall’s Tau test, we build a correlation between the degree of an account’s online activity and the frequency of onsite visits by the public. Our findings shed light on how organizations can use social media tools to more fully engage the public in social and cultural events. © 2017 The Institute of Urban Sciences. | Quantitative | China | Beijing | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85021167218&doi=10.1080%2f12265934.2017.1343155&partnerID=40&md5=956bc4fc0d78c36392e7b9e2ab91ab86 | ||||||||||||||||||
73 | Pritchard S. | Place guarding: Activist art against gentrification | 2018 | The US policy platform of creative placemaking (Gadwa Nicodemus, 2013, p.214) is becoming a dominant global vehicle for the implementation of neoliberal ideologies (Wilbur, 2015, pp.96-7) like the Creative City (Landry and Bianchini, 1995) and Creative Class (Florida, 2002). This chapter explores how activist art within the context of housing protests can offer potentially generative approaches to place guarding capable of resisting appropriation by policy platforms like creative placemaking. This chapter argues that creative placemaking is a state- and local-authority inspired policy that is wedded, via corporate partnerships, to neoliberalism: an approach that merges art with community and economic development at every level of society, from the global to the hyper-local. It suggests that creative placemaking thereby utilises Creative City and Creative Class models alongside New Urbanist principles and social capital theory to become an effective means of gentrification. Yet the chapter also argues that art and artists can use their creativity as part of broader social movements to resist and oppose gentrification. This process can be described as a form of ‘place guarding‘, collective acts of protecting existing people and places from the ravages of neoliberalism and policies and practices such as creative placemaking and ‘artwashing’, the use of art as a veneer or mask for corporate or state agendas (O'sullivan, 2014). © 2019 selection and editorial matter, Cara Courage and Anita McKeown; individual chapters, the contributors. | Case Study | UK | London | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85059253118&doi=10.4324%2f9781315104607&partnerID=40&md5=22ac6758b4d4c228b41a4b50dbd16cfe | ||||||||||||||||||
74 | Rich M.A.; Tsitsos W. | Avoiding the ‘SoHo Effect’ in Baltimore: Neighborhood Revitalization and Arts and Entertainment Districts | 2016 | This article investigates how state-sponsored ‘arts and cultural districts' and ‘creative placemaking' revitalization strategies affect urban neighborhoods, using the Station North Arts & Entertainment (A&E) District in Baltimore, Maryland (USA) as a case study. Through ethnographic participatory methods and 39 qualitative interviews, we studied the activities and attitudes of various stakeholders within Station North. Since its designation as an arts and entertainment district in 2002, a number of public–private partnerships have helped increase home values in Station North, suggesting that the ‘branding' of Station North has been successful. While the institutions involved in the district, including community development corporations and local universities, are careful to insist that they do not want to displace low-income residents, many interviewees expressed concerns that these institutions exert influence outweighing that of longtime residents. While a certain level of gentrification has occurred with the arrival of new residents, we argue that the people who are most likely to be displaced from the arts and entertainment district in the future are, paradoxically, artists, especially those who wish to buy homes and settle in the district. After discussing the case of Station North, we consider broader implications of the use of arts for urban revitalization. © 2016 Urban Research Publications Limited | Multiple | US | Baltimore | https://www.scopus.com/inward/record.uri?eid=2-s2.0-84996522113&doi=10.1111%2f1468-2427.12376&partnerID=40&md5=ff5bf978a8cc54ac0f390d75e8aad96c | ||||||||||||||||||
75 | Duman A. | Not here, right now/right here, not now: Unfolding the context in Alana Jelinek's This Is Not Art | 2014 | In this article I aim to unfold the main argument in Alana Jelinek's This Is Not Art into contiguous territories, located within the contemporary reality of urban development and the post-Olympic cultural landscape in London. Faced with the emergence and increasing production of artistic activities known as 'creative placemaking', and the enmeshed relationships between the continuing evacuation of social housing estates and the presence of artists as temporary occupants/ practitioners in these interim spaces, a stark but necessary question is suggested: what is art doing in London at this moment in time? In asking this question, I am mindful of the precious distinction recently drawn by Angela Dimitrakaki, who suggests that we should differentiate between 'the artwork' as the output of artistic production, and the outcome of 'art' as a way of production. The production relations as 'outcomes' that we examine in this article are those of the forces engaged in the production of physical and social urban space in London today in which 'art as outcome' is a central component. I identify this as the 'aesthetic dividend', understood as the added value to privileged narratives of urban development inscribed both into planning authorities' scenarios and private developers' marketing strategies, and served by an array of specific artistic activities and their perception as 'creative placemaking'. Dimitrakaki's propositions will also be important in the central section of the article, when they will be drawn as important resources into the analysis of Mike Nelson's/Artangel's unrealized artwork for the decanted Heygate Estate in Elephant & Castle, South London. © 2014 Taylor & Francis. | Case Study | UK | London | https://www.scopus.com/inward/record.uri?eid=2-s2.0-84924354028&doi=10.1080%2f14702029.2014.970397&partnerID=40&md5=196cb7a621650a4de134e9540c0c081f | ||||||||||||||||||
76 | Melcher K.; Stiefel B.L.; Faurest K. | Community-built: Art, construction, preservation, and place | 2016 | Throughout history and around the world, community members have come together to build places, be it settlers constructing log cabins in nineteenth-century Canada, an artist group creating a waterfront gathering place along the Danube in Budapest, or residents helping revive small-town main streets in the United States. What all these projects have in common is that they involve local volunteers in the construction of public and community places; they are community-built.Although much attention has been given to specific community-built movements such as public murals and community gardens, little has been given to defining community-built as a whole. This volume provides a preliminary description of community-built practices with examples from the disciplines of urban design, historic preservation, and community art.Taken as a whole, these community-built projects illustrate how the process of local involvement in adapting, building, and preserving a built environment can strengthen communities and create places that are intimately tied to local needs, culture, and community. The lessons learned from this volume can provide community planners, grassroots facilitators, and participants with an understanding of what can lead to successful community-built art, construction, preservation, and placemaking. © 2017 Taylor. & Francis. | Multiple | Multiple | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85024841587&doi=10.4324%2f9781315545066&partnerID=40&md5=ca1236508fcb49bf6ac473e494dc312a | ||||||||||||||||||
77 | McKeown A.; Courage C. | Conclusion: Moving into the beyond - what“s next for creative placemaking? | 2018 | As a nascent field, nearing completion of its first decade, creative placemaking is still evolving. As the concept is embraced and enacted through practice globally, this book has sought to present approaches and practices that have moved away from the popularly attributed elements of creative placemaking - of monumental artworks and artists' live-work spaces and the like - to more diverse practices and voices that both offer sector critique and development. This concluding chapter draws attention to the underlying concerns that motivated the book and the questions and issues raised within it, signalling the ‘move beyond’ the current into creative placemaking's next era. © 2019 selection and editorial matter, Cara Courage and Anita McKeown; individual chapters, the contributors. | Multiple | Multiple | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85059255859&doi=10.4324%2f9781315104607&partnerID=40&md5=42472ef4b8b7afa94b4e7bc3cdd6c359 | ||||||||||||||||||
78 | Markusen A.; Nicodemus A.G. | Creative placemaking: Reflections on a 21st-century american arts policy initiative | 2018 | The US National Endowment for the Arts’ Our Town initiative and its philanthropic counterpart, ArtPlace, emerged in 2010/2011 in response to a 1990s crisis in national arts funding and retreat into economic impact advocacy. We recount the Obama administration's arts policy leadership and their‘creative placemaking’ approach. We analyze two ongoing challenges — diversity and displacement — addressing how to broaden participation by people and communities of color and avoid displacing low-income residents and small businesses. We review the indicators approach initially embraced by National Endowment for the Arts and ArtPlace for evaluation, exploring its conceptual fuzziness and challenges of spatial scale, suitable data, and exogenous counterforces. We recap the spread of the creative placemaking ethos, celebrating its invitation to artists and arts organizations to use their artistic creativity for the good of their communities. © 2019 selection and editorial matter, Cara Courage and Anita McKeown; individual chapters, the contributors. | Multiple | US | multiple | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85059286019&doi=10.4324%2f9781315104607&partnerID=40&md5=c724de41bf45f1eb752ed18695ad7832 | ||||||||||||||||||
79 | Cristina Hernandez-Santin, Iderlina Mateo-Babiano, Avita Streatfield | Academic and Australian practitioners' perspectives on placemaking praxis | 2023 | Placemaking is a fluid term with various conceptualisations, but individuals’ understanding of the term may shape the impact of placemaking projects. This paper aimed to identify conceptualisations of placemaking from two perspectives, theory and practice in the Australian context, and develop an analytical framework for categorising placemaking understandings. Through a systematic literature review (SLR) of 77 articles, a set of four placemaking themes was developed. These themes were expanded through the coding of placemaking definitions from 26 Australian placemaking practitioners gathered through a survey, thus creating a Placemaking Understanding Framework (PUF). The PUF highlighted gaps and overlaps amongst academics and Australian practitioners, showcasing how academia tends to frame placemaking as a process producing relational outcomes (like place attachment, sense of belonging, and connection to nature), whereas Australian practitioners focused on both the relational and physical outcomes of placemaking. By illustrating the breadth of perspectives in placemaking, this study builds on the academia-industry nexus for future placemaking strategies. | Literature Review | Australia | multiple | https://doi.org/10.1080/17549175.2023.2180079 | ||||||||||||||||||
80 | Lisbeth A Berbary, Robyn Moran | Placemaking as Unmaking: Settler Colonialism, Gentrification, and the Myth of "Revitalized" Urban Spaces | 2021 | Leisure scholarship that operates within traditional frames celebrates placemaking as an inherently good, participatory, and emancipatory process. In doing so, the bulk of leisure scholarship fails to account for the ways that placemaking is complicit in the historic and pervasive violences of systemic racism, settler colonialism, gentrification, and socioeconomic elitism. Working through the case of Goudies Lane, a recently place-made space in so-called Kitchener, Ontario, we demonstrate how humanist approaches to placemaking predicate erasures and perpetuations of these violences. We argue that thinking differently may allow for a more engaged, equitable scholarship that accounts for the reality that every placemaking is always already an unmaking of something, and that these unmakings perpetuate racialized and socioeconomic injustices under the guise of a collaborative, participatory process of “revitalization” and “progress.” | Case Study | Canada | Ontario | https://doi.org/10.1080/01490400.2020.1870592 | ||||||||||||||||||
81 | Matt Novacevski | Revealing Story and Healing Rifts: The Potential of Post-Colonial Placemaking | 2023 | Placemaking has become a popular means of imbuing the public realm with vibrancy. Despite placemaking gaining prominence in settler-colonial nations, settler-colonial planning’s approach to place largely remains extractive and exclusionary, while little consideration has been given to the potential of placemaking as a post-colonial endeavour. This article explores the potential for a post-colonial conception of placemaking, developed through investigating three interventions on unceded Kulin Nations land in the south-east of so-called Australia. The findings illustrate how practice grounded in reciprocity, revealing story and, fostering connectedness open portals to placemaking as a post-colonial practice of care and emergent possibility. | Case Study | Australia | Kulin Nations land | https://doi.org/10.1080/08111146.2023.2218079 | ||||||||||||||||||
82 | Harini Nagendra, Amrita Sen | The role of environmental placemaking in shaping contemporary environmentalism and understanding land change | 2019 | It is important to understand environmental and conservation consciousness, commonly referred to as ‘environmentalism’, considering the crisis of global environmental change. Environmentalism of the North has been characterized as focused on ‘pristine’ landscapes of wilderness. In contrast, discussions on environmentalism of the South focus on indigenous and long-settled communities with intrinsic associations to nature, keeping social justice at the core. In an increasingly globalized world characterized by migration, teleconnections and changing ecologies, environmental placemaking helps us move beyond these dichotomies to understand the dynamic process by which diverse social and ecological practices, meanings and attachments to nature can be collectively harnessed for conservation. We discuss the growing body of literature that examines environmental placemaking and argue that this literature contributes significant explanatory power to land change science, by helping understand the motivations that act as precursors to shape both proximate drivers of land change, and responses to them. | Comparative | Multiple | multiple | https://doi.org/10.1080/1747423x.2020.1720841 | ||||||||||||||||||
83 | Claudia Baldwin, Vicky O'Rourke | Student engagement in placemaking at an Australian university campus | 2016 | This research illustrates how stakeholder consultation can influence landscape change at a university campus in South East Queensland, Australia. It investigated the contribution students could make to site re-design using a cost-effective, interactive method inspired by Candy Chang's work. The research found that student engagement elicited specific recommendations to overcome the lack of place attachment in the case study location. Student suggestions to incorporate arts and food-related experiences also have implications for using design to build a sense of community. Administrative barriers to site changes were able to be overcome through use of a simple visual tool which allowed imaging alternatives for relocation of an existing problematic feature. This study contributes to the under-researched areas of improving space and place at university campuses to accommodate interaction and the benefits of engaging students in placemaking. It has implications for addressing the challenges of maintaining student-university attachment in a digital world, through revealing a time and cost-effective means of engaging students. It reinforces the role of placemaking approaches that increase student engagement, to contribute to the interconnected themes of place identity, attachment, and sense of community. | Case Study | Australia | Queensland | https://doi.org/10.1080/07293682.2015.1135810 | ||||||||||||||||||
84 | Elinor Chisholm, Philippa Howden-Chapman, Crystal Olin, Ed Randal, Karen Witten | Placemaking and public housing: the state of knowledge and research priorities | 2023 | This article examines the international literature on placemaking – practices or initiatives that encourage a sense of place – in public housing communities. Placemaking is likely to be particularly beneficial to public housing tenants, and is a current priority for public housing providers; yet reviews of placemaking research have failed to consider public housing. Our systematic quantitative review of 63 English-language journal articles reveals that the field is dominated by qualitative cross-sectional studies conducted in the United States, the United Kingdom, and Australia, in the context of regeneration, and published in social science journals. Our thematic analysis of this literature shows that placemaking is supported by forming relationships and participating in community activities, by access to quality public space and amenities, and by spending time and forming memories in a place. The review therefore provides guidance to public housing providers and reveals the need for particular research, including longitudinal studies, and studies conducted in both redeveloped and existing communities. | Literature Review | Multiple | multiple | https://doi.org/10.1080/02673037.2023.2206799 | ||||||||||||||||||
85 | Tanya Allport, Amohia Boulton, Rewa Harker, Hector Kaiwai, Gillian Potaka Osborne | MÄ�ori perceptions of 'home': MÄ�ori housing needs, wellbeing and policy | 2022 | This paper presents the findings of the Perceptions of Papakāinga project, a 12-month, Ngā Pae o Te Māramatanga funded project which explores comparative views of ‘home’ for Māori. The findings highlight the emerging themes around the meaning of ‘home’ for three different generations of Māori living in different geographical locations and how these meanings shape or influence the perception of how to ‘be well at home’. By investigating the views and attitudes of Māori community members in two distinct communities regarding what ‘home’ means to them, the research has been able to identify that ‘home’ is more than a spatial or physical notion, and that there are a range of holistically connected aspects that need to be considered if we are to deliver effective and sustainable solutions around Māori being ‘at home’. As Māori meanings of ‘home’ are adapting, developing and changing, especially in the current Coronavirus Covid-19 context, the findings from this research contribute to the significant thinking that needs to influence future policy direction and also highlights areas that require further investigation. | Ethnographic | Aotearoa/New Zealand | multiple | https://doi.org/10.1080/1177083x.2021.1920984 | ||||||||||||||||||
86 | John T Jackson | Local planning cultures? What Glasgow, Melbourne and Toronto planners say | 2022 | This paper centres on what 51 planning practitioners working across the metropolises of Glasgow, Melbourne and Toronto said in open-ended interviews about themselves and their work under current neoliberal policy settings. Planning systems were redesigned under these settings to attract inward investment more readily, local planners’ practices to be compliant. Through an interrogation of interview transcripts, the aim here to discern whether older professional values underlie current practices and what degree of influence, if any, they have. It is concluded they do, albeit in limited ways, their influence on planning practices varying between and within the three metropolises. Reasons why are discussed. | Ethnographic | Multiple | multiple | https://doi.org/10.1080/13563475.2022.2043148 | ||||||||||||||||||
87 | Victoria Durrer, Abigail Gilmore, David Stevenson | Arts councils, policy-making and "the local" | 2019 | In the British Isles, national policies for the arts are primarily viewed as the responsibility of arts councils with statutory duties to distribute state funding that meet the requirements of both “arms-length” principles and national strategic frameworks. This paper explores the tensions between policy making for the nation-state and for “the local” through comparative research on the arts councils (and equivalent bodies) in Scotland, England and Northern Ireland. Drawing on in-depth qualitative interviews with senior representatives from these organisations, it explores their notions of, responsibilities to and affiliations with “the local”. Findings suggest that despite their different models and relationships to the nation-state, and the disparities in the scale of investment, these national policy bodies commonly rely on networked governance to facilitate their relationship to “the local” which risks reproducing national interests, limiting the localised agency of place-based approaches and contributing to a culture of competition within cultural policy. | Ethnographic | UK | multiple | https://doi.org/10.1080/09548963.2019.1644795 | ||||||||||||||||||
88 | Kahad Adamu, Emmanuel Frimpong Boamah, Wes Grooms | Global South growth machines? A political-economic view of urban redevelopment and dispossessions in sub-Saharan Africa | 2023 | The dynamics of urban redevelopment processes in sub-Saharan Africa (SSA), especially around retail spaces, have gained currency among scholars. Some scholars frame these processes as state-led, informed by party politics, clientelism and meddling, and often resisted by traders and residents. Drawing from Growth Machine theory, this article uses a qualitative case study of the Takoradi Central Market (TCM) in Ghana to reframe this conversation in two important ways. First, it takes a broader view of these redevelopment processes by arguing they are constitutive of often-overlooked neoliberal processes that are disciplining the political-economic and spatial logics of people and spaces across sub-Saharan Africa. The TCM case illustrates the (mis)aligned spatial, economic, and political motives driving various actors within Ghana’s neoliberal placemaking processes that foster accumulation and dispossession around retail spaces under the cover of civic boosterism. Second, rather than simply focusing on local resistance and activism, the article orients us toward a relational understanding of the conflict that exits between market traders and the state by interrogating the embedded alliances and conflicts within and between different actors as they pursue their myriad (mis)aligned economic, spatial, and political motives. It is these inherent conflicts and alliances, and the neoliberal urban redevelopment contexts within which they occur, that must remain central to urban research and policy discourses in SSA. | Case Study | Ghana | Takoradi Central Market | https://doi.org/10.1080/07352166.2022.2155526 | ||||||||||||||||||
89 | Peter John Chen | The Contribution of Street Libraries in Australia to Literacy, Community and the Gift Economy | 2022 | This paper examines the phenomenon of Australian ‘street libraries’. Enthusiasts have suggested that they contribute to their communal fabric, providing increased sociability and promoting reading and literacy. Street libraries have been associated with ‘placemaking’ activities. Seen as part of the ‘gift’ economy, their ‘Take a book. Give a Book. Share a Book.’ motto promotes their role in recycling. International research has contested some of these claims, with some critics suggesting their role in addressing ‘book deserts’ is limited, that they represent a highly individualised paternalism by social and economic elites, and they are associated with the neoliberal assault on public libraries. This paper finds mixed evidence in support for the views of advocates and critics. Australian street libraries are skewed towards localities with the highest socio-economic measures of advantage. They are less ‘interventions’ into the landscape, as associated with private ownership. Street librarians are not, however, disproportionately urban, and their maintainers have greater economic diversity than their ‘elite’ characterisation would imply. Street libraries can be seen as an example of a gift economy, recycling about $11 million in value in 2021. In addition, some social capital advantages in establishing and maintaining a street library can be identified. | Ethnographic | Australia | multiple | https://doi.org/10.1080/24750158.2022.2028332 | ||||||||||||||||||
90 | Tarah Wright, Jennifer Yakamovich | Care-full, convivial, curious: Weaving Canadian artists' conceptions of art as a form of transformative environmental education | 2021 | Addressing global climate change beyond short-term fixes requires wider cultural change. Artists, as cultural workers, play a valuable role in attending to questions of social and ecological justice. While there is growing artistic engagement with environmental research, there are few studies which critically explore the confluence of contemporary art, sustainability, and informal education within Canada. Using a framework of poetics (poiesis), this study explores how an environmentally engaged arts practice is a form of transformative environmental education. We interviewed 24 current Canada-based visual, installation, and performance artists to understand how they conceptualize their role in fostering socioecological transformations. We used an inductive thematic coding scheme to analyze transcripts and compared emergent themes to current ecocritical literature. Results reveal a framework of artist-researcher-teacher as facilitator of conviviality, curiosity, and care, showing the agency of artists and a need for poetics in environmental work, research, and education. | Ethnographic | Canada | multiple | https://doi.org/10.1080/00958964.2021.1929801 | ||||||||||||||||||
91 | Elaine Speight, Ann Sumner, Martin Zebracki | (Re)Making Public Campus Art: Connecting the University, Publics and the City | 2017 | This article analyzes how public campus art has traditionally related to historic university agendas and campus communities, but has recently provided a platform for far-reaching public engagement beyond the campus, thus reaching new audiences. | Case Study | UK | Leeds | https://doi.org/10.1080/21502552.2017.1288537 | ||||||||||||||||||
92 | Johanna K Taylor | Artists, government and cross-sector collaboration: A guiding framework of US-based artists in residence in government programs | 2022 | Artist in residence in government (AIRG) programs that embed artists within civic work are becoming increasingly popular across the United States. As governments are challenged to shift systems to be more equitable, repair infrastructure and prepare for future crises, cross-sectoral collaboration models offer new ways of working. Cross-sectoral collaboration that embeds artists in non-arts sectors spurs civic innovation and shifts contexts to inspire new ideas and opportunities. This article builds a guiding framework of the characteristics and considerations that shape AIRG programs in order to present possible pathways that can be followed in program development and implementation. Foundationally, each AIRG is unique and responsive to the specific underlying social, political, economic, environmental and cultural preconditions of place. The guiding framework details preconditions, program design and partners, and program structure, followed by an analysis of the challenges and opportunities. Research was conducted on AIRG programs operating in 2020 and 2021. | Case Study | US | multiple | https://doi.org/10.1080/09548963.2022.2083944 | ||||||||||||||||||
93 | Iderlina Mateo-Babiano | How is urbanism socially constructed? An examination of Japan's post stations | 2018 | This research explores the spatial and historical origins of urbanism typical during Japan’s Tokugawa period (1603–1868). Urbanism will be shown through three overarching thematic categories: natural features, built form, and the uses and activities of Tōkaidō’s post stations. Post stations (or shukuba) were towns and villages established at regular intervals for the convenience of travellers who often journeyed along the Tōkaidō great road. The intent of the research method is to act as a ‘prism’ to reveal the way of life, seen through the eyes of Ando Hiroshige’s Tōkaidō series of woodblock prints (ukiyo-e or the ‘floating world’). The results of the content analysis reveal the fundamental role of transportation/movement networks in sustaining the social and cultural vitality of the post stations and the alignment of this urban model with Green Urbanism, Transit-Oriented Urbanism and Urban Spectacle theories in contemporary urban design and planning. | Image Analysis | Japan | Hiroshige | https://doi.org/10.1080/13574809.2017.1337498 | ||||||||||||||||||
94 | Robert Richardson, James T White | Design Governance, Austerity and the Public Interest: Planning and the Delivery of 'Well-Designed Places' in West Dunbartonshire, Scotland | 2021 | This paper considers how planning authorities can achieve urban design ambitions in the context of deepening neoliberalism and fiscal austerity. Based upon a case study of West Dunbartonshire, Scotland, the paper reveals the innovative steps taken by the local authority to introduce new design governance tools in the face of significant resource constraints. The paper critically examines the role that the private sector plays in the governance of design and argues for a reconceptualisation of design governance that more rigorously attends to the challenge of delivering well-designed places in the public interest. | Case Study | UK | Dunbarton | https://doi.org/10.1080/14649357.2021.1958911 | ||||||||||||||||||
95 | Jess Edwards | Literature and sense of place in UK landscape strategy | 2019 | The European Landscape Convention treats public perception and participation as essential to the integration of landscape within policy-making. Yet critiques of the implementation of the Convention in the UK through expert-led landscape character assessment (LCA) suggest that incorporation of public perception has been minimal and that the democratic potential of the Convention remains largely unrealised. This article examines the problematic role of perception in LCA and looks at examples where literature has been used to achieve a limited accommodation between subjective and objective modes of landscape characterisation. It argues for an expansion of this approach in the interests of public engagement, discussing landscape projects where participants have been supported to produce their own creative writing to cultivate not just landscape ‘literacy’ but a sense of connection with and stewardship of places. | Creative methodology (performance) | UK | Derbyshire | https://doi.org/10.1080/01426397.2018.1518519 | ||||||||||||||||||
96 | Ruth Fincher, Maree Pardy, Kate Shaw | Place-making or place-masking? The everyday political economy of "making place" | 2016 | As redevelopment and gentrification strategies globally continue to be aimed at attracting wealthier residents and consumers in an effort to drive economic growth, concerns for and interventions in the interests of social equity appear decreasingly relevant. Government, private sector and community organisations have of course worked together in different times and places to implement programs that are more rather than less inclusive – the variations always depending on the spatial politics of the context. This paper examines contemporary discourses and practices of place-making in Melbourne, and asks whether ways of thinking about urban redevelopment as place-making in this time and place are likely to enable the inclusion of social equity in these urban “improvements”. | Case Study | Australia | Melbourne | https://doi.org/10.1080/14649357.2016.1217344 | ||||||||||||||||||
97 | Hossam Hewidy, Johanna Lilius | In the blind spot: ethnic retailing in Helsinki and the spontaneous placemaking of abandoned spaces | 2022 | Currently, hypermarkets represent most of the Finnish retail property stock leading to the dwindling of small mainstream retail. Accordingly, many retail premises have been left vacant at the old shopping centres in suburbia. Ethnic retailing has remarkably impacted the urban landscape of the city of Helsinki and spontaneously converted such abundant premises into livable agglomerations, which has contributed to placemaking. The aim of this paper is to study ethnic retailing through two case studies in Helsinki, with an explicit focus on its role in placemaking and the response of urban planning to the phenomenon. The case studies do not report success in planning for diversity. On the contrary, urban renewal policy threatens the existence of two successful agglomerations. The contribution of this paper is threefold. First, it demonstrates that ethnic retailing has a structured capacity to deal with market impacts, and the clustering of intercultural entrepreneurship supports its success. Second, the empirical work showed that factors related to space and its usage are already discussed in the theoretical work on placemaking. Third, it argues that the rigid boundaries of planning have prevented the city from perceiving the potential of ethnic retailing and placemaking remains in a blind spot. | Ethnographic | Finland | Helsinki | https://doi.org/10.1080/09654313.2021.1932763 | ||||||||||||||||||
98 | Dominic Aitken | The Influence Fallacy: Resident Motivations for Participation in an English Housing Regeneration Project | 2017 | This study explored resident motivations for participation in a housing regeneration project involving demolition. Findings from 19 semi-structured qualitative interviews are drawn upon to argue that resident motivations for participation have previously been oversimplified to focus primarily on the desire to influence a project, without regard for the way local contexts shape motivations. The article concludes that engagement in housing regeneration projects can also be motivated by seeking information narrowly focussed upon the future of one’s home, in addition to identities, emotional factors, and a sense that it is residents’ responsibility to participate. | Ethnographic | UK | multiple | https://doi.org/10.1080/14649357.2017.1353701 | ||||||||||||||||||
99 | Mick Lennon | The art of inclusion: phenomenology, placemaking and the role of the arts | 2020 | This paper extends emerging research on the role of the arts in placemaking by introducing readers to the theories of Hannah Arendt. Specifically, it outlines the value of an Arendtian phenomenological framework for conceiving why, how and in what ways ‘inclusion’ could and should operate in placemaking. The paper first presents an outline of Arendt’s phenomenological approach. An exploratory case study of arts activities in a rural Irish town is then employed to illustrate the explanatory potential of this approach. The paper closes by reflecting on how an Arendtian approach suggests important lessons for placemaking research and practice. | Ethnographic | Ireland | Callan | https://doi.org/10.1080/13574809.2020.1717331 | ||||||||||||||||||
100 | Marco Borsotti, Giulietta Fassino, Sonia Pistidda | Built territories. Innovative regeneration processes for a participatory and sustainable design | 2017 | Today we must definitively face the challenge of modified urban scenario, with a great presence of abandoned buildings that losing their stable function, often become reason of social tensions. The implementation of design processes to reverse this trend, called “architectural project for existing buildings”, requires innovative methodological approaches with simultaneous input of multiple knowledge and new interaction between design and sustainability. This proposal means to trace the profiles of some recent experiences characterized by the experimentation of alternative design procedures where the active participation of civil society becomes crucial. These planning practices must re-find their roots in the teaching practice, reclaiming the critical role of the education for setting up a design for the new generations. In this way, the experience of LABZONE2 (Politecnico di Milano) is oriented to develop urban regeneration design by activating a social condensers network in the Town Hall 2 (the most multi-ethnic of the city of Milan). | Case Study | Italy | Milan | https://doi.org/10.1080/14606925.2017.1352798 |