Cities within the City: Do‐It‐Yourself Urbanism and the Right to the City

In many cities around the world we are presently witnessing the growth of, and interest in, a range of micro‐spatial urban practices that are reshaping urban spaces. These practices include actions such as: guerrilla and community gardening; housing and retail cooperatives; flash mobbing and other shock tactics; social economies and bartering schemes; ‘empty spaces’ movements to occupy abandoned buildings for a range of purposes; subcultural practices like graffiti/street art, skateboarding and parkour; and more. This article asks: to what extent do such practices constitute a new form of urban politics that might give birth to a more just and democratic city? In answering this question, the article considers these so‐called ‘do‐it‐yourself urbanisms’ from the perspective of the ‘right to the city’. After critically assessing that concept, the article argues that in order for do‐it‐yourself urbanist practices to generate a wider politics of the city through the appropriation of urban space, they also need to assert new forms of authority in the city based on the equality of urban inhabitants. This claim is illustrated through an analysis of the do‐it‐yourself practices of Sydney‐based activist collective BUGA UP and the New York and Madrid Street Advertising Takeovers.     

Creative Mediations of the City: Contemporary Public Art as Compass of Metro Manila's Urban Conditions

In this article, public art is proposed as creative agency mobilized to form urban imaginaries. These alternate visions are largely facilitated by artists and art collectives using urban communities as performative grounds. These projects promote a view of art as an effective channel for ‘recentering’ — the identification of a multitude of centers that endlessly fracture and shift, very much resembling the nature of cities themselves. An alternate vision of the city through cartography informed by contrast, temporality and ephemerality is proposed alongside dominant representations of the city. Works by artists Alma Quinto, Mark Salvatus and Wire Tuazon are representative examples of such strategies. Diverse in tactics and platforms, defined by site‐specific mediations, the projects facilitated by these artists reveal the uneven conditions that beset Metro Manila and its outlying areas. Quinto's altered Urban Plan/Duyan is the result of her engagement with women in an informal settler community in San Andres Bukid, Manila, while Salvatus's web‐based Neo‐Urban Planner is an astute observation of the obsessive yet futile ordering of people and space by the state. Tuazon's Amphibian installation is a commentary on the encroachment of multinational interests in local communities. These interventions are foils to state‐ and private‐led urban development schemes. Their strength lies in their direct engagement with the sphere of public dialogue and self‐determination. These artistic practices and strategies are shaped by community interaction, revealing that meanings residing in urban forms are relentlessly negotiated by the numerous actors that inhabit the city.     

Global Best Practice or Regulating Fiction? Street Vending,Zero Tolerance and Conflicts Over Public Space in New York, 1980–2000

In global urban studies, different cities often serve as stand‐ins for various policy approaches. New York is closely associated with zero tolerance/quality of life policing—specifically the ways this crime‐fighting technique was used to manage and regulate public space in support of broader urban redevelopment goals. Whether celebrated or criticized, the image of New York as a city that was successful in ‘cleaning up’ public space has been exported across the globe, and has been invoked by a number of cities as they embark on their own projects to clear street vendors and other unwanted actors from public space. This article will challenge this established narrative through an examination of struggles over street vending and public space in New York during the 1980s and 1990s. It will show how the revanchist project of public space management was challenged and ultimately limited by vendors using discourses of free market populism and entrepreneurship. It demonstrates the ways in which the image of New York as a city of settled and well‐regulated public space does not tell the complete story, and how New York, like many other ordinary cities across the globe, is a city of contested spaces and uncertain regulatory effectiveness.     

Cracks in the Creative City: The Contradictions of Community Arts Practice

The recent flurry of research about arts‐led regeneration initiatives illuminates how contemporary arts festivals can become complicit in the production of urban inequality. But researchers rarely engage with detailed empirical examples that shed light on the contradictory role that artists sometimes play within these spectacularized events. Similar research in performance studies connects the political limits and potential of social practice arts — interventions that encourage artists and non‐artists to co‐produce work — as civic boosters strive to stage cities in order to attract investment. In this article, I explore the case study of Streetscape: Living Space at Regent Park, a participatory artistic intervention programmed in a public housing neighbourhood that is undergoing redevelopment in Toronto, Canada. Streetscape was part of the Luminato festival, an elite booster coalition‐led festival of ‘creativity’. I refer to these arts interventions to demonstrate how artists engaging in social practice arts can become complicit in naturalizing colonial gentrification processes at multiple scales. But I also reveal how artists can leverage heterogeneous arts‐led regeneration strategies to make space for ‘radical social praxis’ (Kwon, 2004), interventions that challenge hegemonic regimes. I conclude by interrogating the effectiveness of place‐based efforts in unsettling the ‘creative city’.     

Reappearance of the Public: Placemaking,Minoritization and Resistance in Detroit

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.     

Why do Graffiti Writers Write on Murals? The Birth,Life, and Slow Death of Freeway Murals in Los Angeles

For three decades graffiti writers have marked the Olympic Festival freeway murals painted in celebration of the 1984 Olympic Games in Los Angeles (LA). These high‐profile murals, which once symbolized LA's status as the ‘Mural Capital of the World', became palimpsests on which graffiti writers painted their monikers, perhaps unwittingly contributing to their eventual destruction. Local government, muralists and residents have bemoaned the murals' slow death, though have not been able to identify or understand the motives for such vandalism, interpreting it as ‘mindless', ‘animalistic' vandalism perpetrated by ‘kids' who simply lack respect. I argue that the burial of these murals under layers of paint must be understood in the context of competing claims made to public space. Relying on rare personal interviews with the graffiti writers who participated in their destruction, I answer the question ‘Why do graffiti writers write on murals?', while situating the birth and life of the Olympic murals within a larger historical discussion about Chicano/a mural making, urbanization, freeway construction, and the growth of the graffiti subculture in the United States' paradigmatic global city.     

Creative marketing and the art organisation: what can the artist offer?

The poem ‘My Paintings’, written in a deliberate, uncorrected dyslexic style offers an insight into the mind of a present day avant garde bad boy of British art, Billy Childish. Constantly challenging the art establishment through public demonstrations of distaste against the annual Turner Prize,[Button, V. (1999) ‘The Turner Prize’, Tate Gallery Publishing, London.] Childish and his cohorts launched an alternative, Stuck‐ist, art manifesto,[Alberge, D. (1999) ‘Rebels Get Stuck into the Brit Artists’, The Times, Thursday 26th August, p. 7.] in the belief that it would assist in a shift in public perception of what good art is, as well as influence the creative practice of those artists concerned with more traditional, authentic forms of art. Childish's ex‐girlfriend Tracey Emin, however, has had other ideas. She has revelled in mass media exposure and now dismisses the concept of traditional painting as a valid art from.[Brown, N. (1998) ‘Tracey Emin’, Art Data, UK.] These are two examples of contrasting creative, artistic behaviour. Their creativity has resulted in varying levels of commercial success. By examining the role that creativity plays in determining how the idea for a creative product is first identified, through to its commercial exploitation, there are valuable lessons contained in such a process for both profit‐oriented and nonprofit art organisations alike. Instead of constantly fighting the conflicting philosophies of art for art's sake versus art for business sake, following the market and consumer demand, there is a much more effective method for establishing longer‐term success, which mirrors the creative practice of the artist. The existing literature on arts marketing is examined. A critique of the usefulness of current thinking is presented, with the recommendation that the formal models of marketing offered in arts marketing literatures can only ever hope to offer general advice on marketing. What is called for is a much more in‐depth analysis of how creative entrepreneurial marketers as artists can offer alternative visualisations of more appropriate models of marketing for the industry. This in turn should result in the stimulation of creative research methodologies that can inform both theory and practice within arts marketing in particular, and the wider remit of marketing in general. The use of the metaphor and the examination of published biographies of creative individuals are used to construct a manifesto of marketing artistry. Copyright © 2002 Henry Stewart Publications     

Food fight! Immigrant Street Vendors,Gourmet Food Trucks and the Differential Valuation of Creative Producers in Chicago

Immigrant street vendors in Chicago have fought for decades without success to change the restrictive and punitive city ordinance governing their work. The failure of the immigrant street vendors stands in marked contrast to the successful efforts of gourmet food truck entrepreneurs, who within only two years convinced the Chicago City Council to pass an ordinance permitting their work. The differential regulation of street vending reveals how local politicians use the rhetoric of the ‘creative’ city to justify building a city that appeals to young urban professionals, while simultaneously marginalizing the possibilities of working‐class immigrants to shape the city to their desires. This article aims to add to the literature on the politics of the creative class by demonstrating how discourses of creativity and entrepreneurialism get mobilized by competing interests, and how racial‐ethnic attitudes become integral to these discourses. The contrasting experiences of the vendors force us to ask: Why is the creativity of food truck entrepreneurs valued over the creativity of street vendors when, according to Richard Florida, creative class cities are supposed to be tolerant and immigrant‐friendly? Whose ‘creativity’ gets to be part of the ‘creative’ city? I draw on interviews with street vendors and a discourse analysis of media coverage of vending debates.     

Street Performance,Public Space,and the Boundaries of Urban Desirability: The Case of Living Statues in Barcelona

How do cities determine who has the right to station themselves in iconic public spaces? This article explores this question by analyzing the evolution of Barcelona's approach to regulating street performance, with a particular focus on regulations pertaining to ‘living statues’. Although most buskers have been expelled from the Ramblas, one of the city's most emblematic walkways, living statues remain permitted on the promenade. This, I argue, is due to the general embrace of statues as part of local tradition and their integration within city‐branding campaigns, as well as their own organizing and boundary work. As the image Barcelona seeks to cultivate has changed, however, the right of statues to station themselves in public space has become ever more tenuous. My findings speak to broader questions regarding how cities determine the boundaries of ‘urban desirability’, as well as why and how such boundaries change over time. They also elucidate the strategies that groups located at the margins employ in attempting to position themselves favorably in relation to such boundaries. More generally, they highlight how current approaches to analyzing urban inclusion and exclusion may benefit from a more sustained engagement with the burgeoning social scientific literature on symbolic boundaries.     

Seeing Like a City‐State: Behavioural Planning and Governance in Egypt's First Affordable Gated Community

Haram City is Egypt's first ‘affordable’ gated community, hosting both aspirational middle‐class homeowners and resettled poor urban residents. Amidst legal ambiguity during Egypt's 2011–2013 revolutionary period, the management team of this public–private partnership was tasked with creating a ‘fully self‐sufficient’ city. While Haram City is the product of top‐down ‘seeing like a state’ master planning (Scott, 1998 ), the day‐to‐day resolution of class vulnerabilities and disputes over ‘reasonableness’ in city life requires forms of interpersonal adjudication otherwise addressed through local urban law—‘seeing like a city’ (Valverde, 2011 ). This article uses ethnography of management techniques aiming to ‘upgrade behaviour’ to theorize that a private entity, in a strategically indeterminate relationship with the state, reconciles future‐oriented planning and storied prejudices by merging two visions of governance. Imitating the repertoire of urban law, managers plan the very realm of bottom‐up decision making. They then adapt top‐down urban planning to bottom‐up dispute resolution to spatially consolidate the ‘consensual’ outcomes of a rigged game. Evoking both colonial Egyptian vagrancy laws and neoliberal paternalist welfare, ‘seeing like a city‐state’ governance amounts to authoritarianism that conceals itself within custom, appearing neutral so as to plan streets, codes and inner lives at once.     

Renaissance Revisited: Singapore as a ‘Global City for the Arts’

Singapore is renowned as a global business and financial centre, an international hub of air and sea transport, and Asia's leading convention city. In the new millennium, the government has envisioned a new role for the city‐state as a ‘Renaissance City’ and ‘Global City for the Arts’. This vision is premised on Singapore becoming an investment base for leading arts, cultural and entertainment enterprises in the region, the theatre hub of Southeast Asia, and an entertainment destination for tourists. This article examines the challenges and accomplishments in Singapore's quest to be a Renaissance City. Drawing on literature on ‘global cities’ and concepts relating to ‘globalization’ and ‘localization’, it argues that the key challenge facing Singapore is how best to ‘go global’ and ‘stay local’ at the same time. Developing a Renaissance City entails a balancing act between globalizing local sensibilities on the one hand, while localizing global best‐practices on the other. This global‐local nexus can be approached in three ways: (1) by striking a balance between the economic and humanistic objectives of the arts; (2) by importing world‐class arts talents and exporting home‐grown skills; and (3) by globalizing local peculiarities in line with best practices from around the world. The need to balance global standards with local interests is not easily achieved, however, making Singapore's ‘Global City for the Arts’ vision one of its most ambitious goals to date. Singapour est célèbre en tant que centre mondial de la finance et des affaires, pivot du transport aéro‐maritime international, site de premier plan pour les salons en Asie. Avec le millénaire naissant, le gouvernement a envisagé une nouvelle fonction pour la cité‐État, celle de ‘Ville de la Renaissance’ et ‘Ville mondiale des Arts‘. Préalablement, Singapour doit devenir non seulement une base d'investissement pour les grands projets artistiques, culturels et de divertissement dans cette partie du monde, mais aussi le nud théâtral de l'Asie du Sud‐Est et une destination touristique de loisirs. L'article étudie les défis et réalisations qui jalonnent cette entreprise. Exploitant les documents traitant des ‘villes mondiales’ et des concepts liés à la ‘mondialisation’ et à la ‘localisation‘, il démontre que le grand problème auquel Singapour se heurte est de concilier simultanément les deux démarches ‘agir mondial‘ et ‘rester local‘. Développer une Ville de la Renaissance implique un équilibrage entre la mondialisation de sensibilités locales d'un côté, et la localisation des meilleures méthodes internationales de l'autre. On peut aborder ce lien mondial‐local de trois manières différentes: trouver un juste milieu entre les objectifs économiques et humanistes des arts; importer des talents artistiques de dimension mondiale et exporter les compétences nationales; mondialiser les particularités locales cohérentes avec les meilleures méthodes internationales existantes. Atteindre l'équilibre nécessaire entre normes mondiales et intérêts locaux est loin d'être aisé, ce qui fait de la vision de Singapour en ‘Ville mondiale des Arts‘ l'un des buts nationaux les plus ambitieux à ce jour.     

Tent City: Patterns of Informality and the Partitioning of Sacramento

Unsanctioned tent cities are increasing in number in cities throughout the western United States. Scholars explain the phenomenon as homeless people asserting their ‘right to the city’ or as ‘managed marginality’. These explanations capture much of the socio-political relationship between local government and homeless populations, but do not explain the long-term persistence of tent cities and the fluctuating nature of their visibility. A spatial history of informal encampments in Sacramento at three key moments—the founding of the city, the Great Depression and the Great Recession—reveals a long-term ebb and flow of tent cities occupying close-to-the-center, urban vacancies. Urban vacancies arise from the partitioning of the city into specific purposes, places and people, a taken-for-granted perception of how cities should be. The visibility of tent cities disrupts this aesthetic notion of stability and growth as homeless people use the tent to protest their isolation and exclusion.     

Creative Cities,Graffiti and Culture-Led Development in South Africa: Dlala Indima (‘Play Your Part’)

Creative cities and culture-led development discourses have come under increasing scrutiny as elite-centric economic development agendas tend to trump ‘civic creativity’ ideals as imagined by Charles Landry. In South Africa, culture-led development and cultural policy tends to primarily mimic that of the global North, largely focusing on culture as a catalyst for economic and property development. Public art commissioning processes tend to focus on decorative projects as part of urban upgrading, which are often associated with ensuing gentrification and displacement of the urban poor. In contrast to focusing on these kinds of regeneration strategies, this article investigates Dlala Indima, a hip-hop-led graffiti project in a rural township in the Eastern Cape of South Africa. This article situates graffiti as a critical social and spatial practice to argue that this case challenges normative cultural planning paradigms. Dlala Indima's work is an alternative approach to cultural development by and for young people who are usually marginalized by the mainstream practice of culture-led economic development. The project challenges dominant creative cities and culture-led development discourses in three ways: first, it challenges the normative processes of regeneration; secondly, it grounds participatory practice; and finally, it shifts participation from ‘tyranny to transformation’ through the ubuntu of hip-hop, the notion of ubuntu being based on the communitarian notion of ‘ubuntu, ngubuntu ngabantu’—‘I am because you are’.     

Building from Scratch: New Cities,Privatized Urbanism and the Spatial Restructuring of Johannesburg after Apartheid

By the start of the twenty‐first century, the once dominant historical downtown core of Johannesburg had lost its privileged status as the center of business and commercial activities, the metropolitan landscape having been restructured into an assemblage of sprawling, rival edge cities. Real estate developers have recently unveiled ambitious plans to build two completely new cities from scratch: Waterfall City and Lanseria Airport City (formerly called Cradle City) are master‐planned, holistically designed ‘satellite cities’ built on vacant land. While incorporating features found in earlier city‐building efforts, these two new self‐contained, privately‐managed cities operate outside the administrative reach of public authority and thus exemplify the global trend toward privatized urbanism. Waterfall City, located on land that has been owned by the same extended family for nearly 100 years, is spearheaded by a single corporate entity. Lanseria Airport City/Cradle City is a planned ‘aerotropolis’ surrounding the existing Lanseria airport at the northwest corner of the Johannesburg metropole. These two new private cities differ from earlier large‐scale urban projects because everything from basic infrastructure (including utilities, sewerage, and the installation and maintenance of roadways), landscaping, security services, the regulation of common spaces, and selling and branding the city are firmly in the hands of private profit‐making corporate entities and outside the mandate of public authorities.     

‘Eco’ For Whom? Envisioning Eco‐urbanism in the Sino‐Singapore Tianjin Eco‐city,China

Eco‐cities have attracted international attention from governments, corporations, academics and other actors seeking to use sustainable urban planning to reduce urban environmental impacts. China has devoted significant political will and economic resources to the development of new‐build eco‐city projects, reflecting the Chinese government's goals to build a ‘harmonious society' in which environmental sustainability and social stability are mutually reinforcing. We critically analyse the case of the Sino‐Singapore Tianjin eco‐city to demonstrate that the eco‐city's ecologically modernizing visions of eco‐urbanism construct a protective environment for its residents that constrains broader consideration of social sustainability. Through analysis of the marketing and presentation of specific domestic and other spaces of the eco‐city, we examine the application of ecologically modernizing construction and technology to the design of the city. We argue that the eco‐city is discursively constructed as ecologically beneficial for its inhabitants rather than for the broader socio‐environmental landscape. Our analysis of residential spaces in Tianjin eco‐city introduces the question of what ‘eco’ means when considering the construction of eco‐urban environments for the city's residents.     

The Forever Frontier of Urbanism: Historicizing Persian Gulf Cities

In recent years, Persian Gulf cities have become symbols of the most spectacular forms of the ‘globalization of urbanization’. Current scholarship has sought to situate these cities in transnational processes and linkages with conceptualizations of ‘the global city’ and the mechanisms of ‘worlding’. This article builds on but moves beyond this line of analysis by turning to the histories of this region and its built environment to explore the longue‐durée influence of capital and empire operating across multiple scales. From this perspective, the glittering high‐rises and manmade islands are contemporary manifestations of a century of urban forms and logics of social control emanating from company towns, the struggles of state building, and the circulation and fixing of capital. To grasp how the Persian Gulf region has been remade as a frontier for accumulation, the analysis in this article blurs the boundaries between metropole and periphery, reconceptualizing the region not as an eclectic sideshow, but as a central site for global shifts in urbanism, capitalism and architecture in the twentieth century.     

The Cosmopolitan Grassroots City as Megaphone: Reconstructing Public Spaces through Urban Activism in Jakarta

Discussions on social movements in Asian cities are inseparable from the abundance of public rallies in the region. In this article, I look at the case of Thamrin‐Sudirman, the main thoroughfare in Jakarta, Indonesia, to uncover how physical urban spaces constituting part of the city as living systems broaden the reach of social movements' agendas. The study involved continuous observation at rallies, interviews with social movement leaders and participants, and a look at simultaneous public rallies in various cities. This article analyzes the sites of public rallies as ‘megaphones’, based on the patterns of issues featured in the rallies, the groups participating, and the nodes and paths that they constructed. Two key dimensions of the megaphone are: (1) the symbolic and historical significance of the sites of rallies; (2) the relationship between the space and the media. Particular sites in cities become places where information is gathered, distributed and transferred through the media, facilitating a network among cities. This article concludes that cities are agents of political actions that amplify ideas and spread them across the globe. The urban centers' megaphonic function results from the synergy between the public space in the built environment and the public sphere, and is reflective of the recentering of the city.     

Urban Governance and the ‘European City’: Ideals and Realities in Dublin,Ireland

Throughout recent decades, a significant amount of attention has been given to the notion of the ‘European city’ within policy formation and academic enquiry. From one perspective, the ideal of the ‘European city’ is presented as a densely developed urban area with a focus on quality public transport and a more balanced social structure. More recently, however, the particular elements of the ‘European city’ associated with pedestrianized public space, urban design and image‐making strategies have become central features of entrepreneurial urban policies throughout Europe. This article undertakes an examination of the notion of the ‘European city’ in urban change in Dublin since the 1990s. Specifically, the article illustrates the degree to which a wholly positive spin on the urban design and image‐making elements of the ‘European city’ in Dublin has served as a thin veil for the desired transformation of Dublin according to neoliberal principles.     

From Public Familiarity to Comfort Zone: The Relevance of Absent Ties for Belonging in Berlin's Mixed Neighbourhoods

Segregation along lines of race/ethnicity and class has created multi‐ethnic and rather class‐homogeneous neighbourhoods in various European cities, commonly labelled as ‘disadvantaged’. Such neighbourhoods are often seen as ‘lacking’ community, as local networks are crucial for belonging and mixed neighbourhoods are too diverse to provide homogeneous identifications. However, in contrast to the understandings of the sociology of community, people might still experience ‘belonging’, yet in different ways. This article argues that we have to focus on the under‐researched ‘time in‐between’ (Byrne, 1978), the absent ties that Granovetter (1973) pointed to, to understand belonging, while moving away from a conception of the anonymous city and from the urban village. This article explores how absent ties affect belonging by empirically sustaining the notion of public familiarity: both recognizing and being recognized in local spaces. Using regression models on survey data from two mixed neighbourhoods in Berlin, Germany, we analyse the importance of neighbourhood use for public familiarity as well as how it relates to residents' comfort zone: people's feeling of belonging and their sense that others would intervene on their behalf. Our findings indicate that research on neighbourhoods could benefit greatly from a careful consideration of the ‘time in‐between’.