Memorial Urban Art as an Aesthetic Experience in the City - An Aesthetical Reading of War Murals in Tehran’s Urban Landscape

2021 ◽  
pp. 1-41
Author(s):  
Maryamalsadat Mansouri ◽  
Parisa Shad Ghazvini
Keyword(s):  
John Dewey ◽  
Aesthetic Experience ◽  
Urban Landscape ◽  
Historical Memory ◽  
Qualitative Assessment ◽  
Political Dimension ◽  
Urban Art ◽  
The Government ◽  
The Aesthetic ◽  
The City

Abstract In the city of Tehran, a series of war-themed murals, often focused on strengthening the audience’s historical memory, stand out among all types of urban art. These works of art, which are generated by the government’s order and created by different state institutions, all carry political and ideological dimensions. They are considered a source of environmental qualitative assessment and recognised as a kind of ‘urban aestheticisation’; in other words, it is a process leading to the production of value according to the ‘John Dewey’ theory. Knowing that the war artworks contain a major political dimension and are mainly created by the order of the ruling governments to ‘strengthen the audience’s historical memory’, an added quality is inevitably integrated, which in the aesthetic domain is commonly known as kitsch: taking advantage of people’s standard associations and confirming them by employing proven stereotypes and clichés, as Ortlieb and Carbon (2019b) wrote. The urban landscape as an exhibition platform is therefore important as it is the context of social events and daily life that affects the audience’s perception. John Dewey defines this perception as an aesthetic experience which takes place in the field of empirical aesthetics and begins by explaining why specific objects give pleasure or displeasure. These explanations will later be integrated into a set of principles which, in turn, will join a global system of analysis, such as Fechner’s aesthetic valuations. The aesthetic experience of war urban artworks is analysed from the observation that in the creation of these works in Tehran, the government, as the sponsor, focuses on the use of the aesthetic qualities of the kitsch. The article then presents the reading of this aesthetic experience through the analysis of a selection of works, based on evaluation criteria and indicators. The interpretation of this experience is to discover the ‘quiddity’ of the evolutions which have occurred in these works from the beginning of the war until today. The following statement highlights one of the most notable results of the research: the weakening of the art position, from a promotional state that improves the urban landscape quality, into a way of showing government’s positioning concerning the paradigms of the country.

scholarly journals To Explore the Urban Landscape Lighting Development in China — Taking the City of Shanghai as an Example

2015 ◽  
Vol 65 (s2) ◽  
pp. 251-265 ◽  
Author(s):  
Gaowa Wuren ◽  
Xiaoming Yang ◽  
Jiangang Xia
Keyword(s):  
Urban Landscape ◽  
Historical Data ◽  
Statistical Tests ◽  
Descriptive Statistics ◽  
Development Mode ◽  
Causality Test ◽  
Cultural Economic ◽  
Ecological Attributes ◽  
The Government ◽  
The City

Landscape lighting is a symbol of modern urban development and service capabilities, and it is also the important content of urban competitive power. This paper used the descriptive statistics, basic statistical tests and Granger causality test to analyze the historical data and the data from the Shanghai Landscape Lighting Survey. It draws conclusion that Shanghai’s landscape lighting has formed unique and sustainable development mode with governmental, cultural, economic, social and ecological attributes, which is led by the government, and market and society join together in the construction and operation.

scholarly journals Um olhar comparativo sobre a regulamentação dos veículos de mídia exterior urbana: os casos de São Paulo (cidade) e Roma | A comparative view of urban outdoor advertising (Out-Of-Home media) regulation: the cases of São Paulo (city) and Rome

2018 ◽  
Vol 15 (1) ◽  
pp. 17-44
Author(s):  
Vanessa Casarin ◽  
Raquel Martinelli
Keyword(s):  
Urban Landscape ◽  
Sao Paulo ◽  
Strong Impact ◽  
São Paulo ◽  
Outdoor Advertising ◽  
Aesthetic Quality ◽  
Media Regulation ◽  
Different Types ◽  
The Aesthetic ◽  
The City

O objetivo central deste trabalho é apresentar um estudo comparativo sobre como as cidade de São Paulo e Roma tem lidado em suas regulamentações com os diferentes suportes de mídia exterior urbana, uma vez que são estas normas que moldam com maior ou menor rigor a forma com que a informação de caráter comercial chega aos cidadãos. O desenho da informação depende, fundamentalmente, do suporte através do qual será veiculada.  A mídia exterior tem um forte impacto na paisagem urbana e a partir da Lei Cidade Limpa implantada em São Paulo diversas cidades brasileiras se viram incentivadas a implantar ou alterar suas normativas neste sentido. A fim de contribuir com este fenômeno, procurou-se então estabelecer um paralelo entre a cidade de São Paulo, uma cidade de negócios, e a cidade de Roma, fortemente orientada ao turismo incentivado pelo seu profícuo patrimônio histórico, principalmente arquitetônico. No caso de São Paulo abordou-se o contexto de aplicação da regulamentação específica mais recente e suas alterações posteriores. Fez-se, a partir de uma analise documental da legislação vigente, uma comparação com a cidade de Roma. Observou-se que embora a cidade de Roma seja fortemente orientada ao turismo e a exploração da qualidade estética de sua paisagem, é mais permissiva em relação a presença de diferentes suportes de mídia exterior na paisagem urbana do que a cidade de São Paulo.*****The main aim of this paper is to present a comparative study between the cities of São Paulo and Rome, and how these cities are dealing with different types of urban outdoor advertising (Out-Of-Home media) in its regulations since these regulations shape the way commercial information is placed in the landscape. The information design depends, mainly, on the support it will be placed. Outdoor advertising has a strong impact on the urban landscape. Since the Clean City Law was implanted in São Paulo, several Brazilian cities have been encouraged to implement (or modify) regulations in this sense. In order to contribute to this discussion, a parallel between the city of São Paulo, a business city, and the city of Rome, strongly oriented to the tourism encouraged by its historical heritage, mainly architectonic, are presented in this paper. The results shown consider only the documental analysis (of the normative legislation, maps, and publications pertinent to the subject) which formed the basis for the evaluation of the landscape, and not the evaluation of the landscape itself. It refers to the initial stage of the research. Its character is, therefore, descriptive and the comparison established between the different case studies aims to foment the discussion around the paths followed by the cities to deal with the spread and diversity of the OOH media nowadays. It was observed that although the city of Rome is mainly oriented to tourism and the profiteering of the aesthetic quality of its landscape, it is more permissive in relation to the presence of different types of OOH media in the urban landscape than the city of São Paulo.

scholarly journals Citra Kawasan Manahan Kota Surakarta Sebagai Lokasi Stabilisasi PKL

2020 ◽  
Vol 22 (1) ◽  
pp. 1-14
Author(s):  
Murtanti Jani Rahayu ◽  
Imam Buchori ◽  
Retno Widjajanti ◽  
Rufia Andisetyana Putri ◽  
Erma Fitria Rini
Keyword(s):  
Public Space ◽  
Street Vendor ◽  
Street Vendors ◽  
Environmental Orientation ◽  
Visual Technique ◽  
Aesthetic Style ◽  
Five Elements ◽  
The Government ◽  
The Aesthetic ◽  
The City

Stabilization as one of the street vendors arrangement type conducted by the government of Surakarta, that have great implications on the aesthetic style and form at some city parts. Some parts of Surakarta has changed a lot since the inauguration of the location, that is a public space, as a street vendors stabilization location in part of the area. Manahan area is one of the locations of street vendor stabilization that is considered successful. The presence of street vendors who have been arranged in the area Manahan able to attract visitors both weekand and weekdays, especially on holidays. This area is also more easily remembered by the visitors than other areas that there is no stabilization of street vendors. It means that this area has good and unique image quality that can be a memory for visitors. The purpose of this paper is to explore the image of street vendor Manahan stabilization area. Understanding the image of city area, principle that is used to assess the five basic elements of image formers include landmarks, path, edge, district and node. All five elements will be the componens in assessing the identity, identity and meaning that will shape the cognition of visitors so that it can be used as environmental orientation when someone is in a place. The introduction of Manahan stabilization area begins with stimulation done by graphic and visual technique before the interviews made a cognitive map in Stabilisasi PKL Manahan area and also made familiarity-favorability-semantic differensial assesment. This area has the potential of sustainability and good image compared to other stabilization locations, so that the managed street vendors can continue to grow and the location of the arrangement becomes an attractive area and supports the identity of the city of Surakarta as a merchant friendly city by staying a beautiful and friendly city for all the citizens and tourists who visit it.

scholarly journals El refugio cultural festival, graffiti and urban art in the historic centre of puebla in Mexico

2021 ◽  
pp. 91-111
Author(s):  
Gustavo Valencia Jiménez ◽  
Adriana Hernández Sánchez ◽  
Christian Enrique De La Torre Sánchez
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Government Support ◽  
Private Companies ◽  
Private Space ◽  
Urban Art ◽  
Historic Centre ◽  
The Government ◽  
The City ◽  
The Church

The city of Puebla was put on the UNESCO list of Cultural Heritage of Humanity in 1987; its history dates back to the sixteenth century allowing for the preservation of various important buildings, such as churches with baroque and neoclassical facades, buildings from the period known as Novo Hispanics, when some of its historic neighbourhoods were founded, including the Barrio el Refugio, hereinafter referred to as BR, where indigenous people employed in the lime manufacture used to live. Since those times, however, the neighbourhood has become a place with bad reputation, “a den of thieves” (Leicht). The traditional, religious commemoration, the “Fiesta Patronal de la Virgen del Refugio,” is the most important celebration in the neighbourhood. In the Church of La Virgen del Refugio, built in the seventeenth century after an inhabitant painted a mural with the image of the virgin, the “mañanitas” are sung with the Mariachi. During the patronal feast, the “El Refugio Cultural Festival” is held with more than a hundred artists taking part and creating about a thousand murals according to the organiser’s estimation. This happens in the city where a project “Puebla Ciudad Mural” was started, as an initiative of the “Colectivo Tomate,” which sought to regenerate the neighbourhood through art, in alliance with the government and private companies. However, these policies are more tourist oriented rather than benefit the neighbourhood. For this reason, the graffiti movement “Festival Cultural el Refugio” is becoming a meeting point for urban artists from Mexico and Puebla, accustomed to taking up public or private space, as they demand space where they can live and express themselves. For ten years the festival has realised more than one thousand pieces of urban art, including Wild Style graffiti, bombs, stickers, stencil, and murals. All this is done under the patronage of the artists themselves, as three hundred of them come from all over the country to take part in every edition of the festival that does not receive any government support or other form of sponsorship.

scholarly journals Sleep in the City. Private Experience of Beauty and Its Urban Implications

2017 ◽  
pp. 121-144
Author(s):  
Bartosz Pokorski
Keyword(s):  
Urban Space ◽  
Aesthetic Experience ◽  
Street Art ◽  
Late Capitalism ◽  
Public And Private ◽  
Public Spheres ◽  
Private And Public ◽  
The Aesthetic ◽  
The City ◽  
Aesthetic Ideal

In my paper I try to trace and understand the reasons for the birth of the 24/7 world as it is described by Johnatan Crary in his book 24/7 Late Capitalism and the Ends of Sleep. He proposes a grim vision of late capitalism in which sleep deprivation and the disintegration of public and private spaces will become a market necessity. My attempt to understand is supported on two other authors. First, Hannah Arendt provided me with an analysis of origins, transformations and somewhat present version of the relation of private and public spheres. Second, Fredrich Schiller delivered an interesting theory on the aesthetic ideal, art, beauty and human experience of beauty. These three analyzes stand as basis for my attempt to present a proposal to overcome the crisis described by Crary and the answer is related to the issue of aesthetic experience of street art in urban space.

Urban Aesthetics and Technology

2021 ◽  
Author(s):  
Sanna Lehtinen
Keyword(s):  
Urban Design ◽  
Aesthetic Experience ◽  
Philosophy Of Technology ◽  
Urban Life ◽  
Urban Mobility ◽  
Aesthetic Value ◽  
Recent Developments ◽  
The Aesthetic ◽  
Urban Aesthetics ◽  
The City

Technology in one form or another has always been a part of urban life. Its development and uses have traditionally been dictated by the practical needs of the community. However, technologies also impact how a city looks and feels. Some technologies have a clear perceivable presence, whereas others are more invisibly embedded into the material structures of the city. This chapter is a study of how the aesthetic features of cities manifest through and in relation to technologies. The chapter bridges recent developments in philosophical urban aesthetics and contemporary approaches in the philosophy of technology. Central concepts include perception, aesthetic experience, aesthetic value, affordance, and attention. The chapter presents urban mobility as an example of how technology can be studied through the framework of urban aesthetics. The final part of the chapter highlights some implications of the aesthetics of technology for urban design.

scholarly journals New Public Monuments: Urban Art and Everyday Aesthetic Experience

2019 ◽  
Vol 2 (1) ◽  
pp. 30-38 ◽  
Author(s):  
Sanna Lehtinen
Keyword(s):  
Public Art ◽  
Large Scale ◽  
Aesthetic Experience ◽  
Urban Art ◽  
Public Monuments ◽  
New Public ◽  
Different Types ◽  
The Aesthetic ◽  
Definition Of ◽  
And Function

AbstractThe role and function of public art is currently undergoing some large-scale changes. Many new artworks which are situated within the already existing urban sphere, seem to be changing the definition of public art, each in their own way. Simultaneously, there exists a trend that endorses more traditional forms of public art. Juxtaposing and comparing the aesthetic implications of different types of artworks, it is possible to see how they contribute to the contemporary understanding of the urban sphere. In this paper, I take a look at the explicit and implicit aesthetic values that these simultaneously existing contemporary forms of public art are based on. The cases selected for closer look are examples of prominent and recent works of public art from downtown Helsinki: He who Brings the Light (unveiled in 2017) by Pekka Kauhanen and Running Man (performed in 2016-17) by Nestori Syrjala. What space and what kind of position is subscribed to the perceiver by these very different types of yet equally established artworks? What kind of experiences and possibilities of participation do these works entail? The focus is on the undergoing redefinition of public art that revolves around these questions.

scholarly journals The role of hotel architecture in shaping the city’s image

2021 ◽  
Vol 63 (11) ◽  
pp. 3-25
Author(s):  
Krystyna Strumiłło
Keyword(s):  
Significant Role ◽  
Research Method ◽  
Urban Landscape ◽  
Public Utility ◽  
Urban Images ◽  
The Aesthetic ◽  
Personal Feeling ◽  
The City

The elements of the environment are characterized by variability. The structure of the city is also a subject to constant structural, social and material transformations. Objects in the city can play significant role for urban landscape. In recent years, it can be observed that the architecture of hotels in cities is becoming more and more unique. After years of building similar hotel facilities, architects began to create more and more original forms that attract the attention of passers-by and are remembered. The importance of individual places in the hierarchy of these space is also changing. Hotels are elements thatbuild the image of cities, often becoming their visual dominant. This applies to creating a sculpture in a space that catch attention with its form and play of colors. The aim of the article is to show, on the example of selected projects, how hotel buildings can shape urban images. The research method is based on the analysis of selected objects and showing their role in shaping the image of the city. The concept of the hotel influences the building of identity. The form of the hotel, the functionality, the materials, and their combination, create the semantic experience for observer. The hotel becomes a ‘story’ narrative that gives visitors or pedestrians a personal feeling of reading architecture. According to Kevin Lynch (1960:8), the external image we perceive can be analyzed by combining three factors: identity, structure and meaning. Identity is identifying an object, distinguishing it from others, making it exclusive. Thus, fragments of space of greater importance are created in the city, which are shaped in terms of public utility. These areas, having greater value, are also of greater prestige for the city. They add as well the aesthetic energy to the city.

scholarly journals Graffiti

2017 ◽  
Author(s):  
Andrzej Zieleniec
Keyword(s):  
Antisocial Behavior ◽  
Urban Space ◽  
Urban Landscape ◽  
The United States ◽  
Street Art ◽  
Urban Art ◽  
Urban Decay ◽  
Youth Subculture ◽  
History Of ◽  
The City

Graffiti has a long history. There are many examples from the history of human cultures of signs and symbols left on walls as remnants of human presence. However, the origins of modern graffiti reside in the explosion of creative activity associated with the development of urban cultural expression among marginalized individuals, groups, and communities in the United States in the late 1960s and early 1970s. Graffiti has expanded in form and content as well as geography to become an almost universal urban phenomenon. It is a ubiquitous feature of cities and an adornment of the modern urban landscape. It has developed beyond its original expression and identification with lettering and spray paint to now encompass a range of media and practices that are associated with street art. Graffiti in particular, but also street art, has engendered contrasting opinions and reactions about its effect, meaning, and value. It elicits a variety of responses both positive and negative. Is it art or is it crime? Is it a creative expression or resistance to dominant urban design discourses and management? Is it vandalism? Is it the result of deviant youthful and antisocial behavior? It has been linked to urban decay and community decline as well as regeneration and gentrification. Graffiti writers and street artists have been criminalized, while others have been lauded and promoted within the commodified world of the art market. The popularity and spread of graffiti as a global phenomenon have led to an increasing academic, artistic, and practitioner literature on graffiti that covers a range of issues, perspectives, and approaches (identity, youth, subculture, gender, antisocial behavior, vandalism, gangs, territoriality, policing and crime, urban art, aesthetics, commodification, etc.). The worlds of graffiti and street art are therefore complex and have provoked debate, conflict and response from those who view them as forms of urban blight as well as from those who perceive them as an expression of (sub)cultural creativity and representative of urban vibrancy and dynamism. The study of who does graffiti and street art, as well as why, where, and when they do graffiti and street art, can help develop our understanding of the competing and contrasting experiences and uses of the city, of urban space, of culture, of design, and of governance. Graffiti is therefore also the focus for social policy initiatives aimed at youth and urban/community regeneration as well as the development and exercise of criminal justice strategies.

scholarly journals NOTAS SOBRE OS PERCURSOS DE UMA JOVEM BOLSISTA DE INICIAÇÃO CIENTÍFICA A CAMINHO DE SUA FORMAÇÃO

RevistAleph ◽  
2012 ◽  
Author(s):  
Gisele da Silva de Oliveira
Keyword(s):  
Aesthetic Experience ◽  
Research Fellow ◽  
The Government ◽  
The Aesthetic ◽  
Memory Knowledge

 O presente artigo pretende apresentar a experiência estética de uma estudantede Pedagogia em seu processo de formação, a partir de sua inserção comobolsista de pesquisa, em um projeto que busca trabalhar em comunhão com aescola, as Memórias, Experiências e Narrativas dos moradores de algumaspraias da Ilha Grande localizada no município de Angra dos Reis, poucoassistidas pelo poder público. O objetivo maior é apresentar através de minhanarrativa como essa experiência foi constituindo meu olhar com e para apesquisa.Palavras chave: estética e educação; memória, saberes e práticas locaisABSTRACTThis article presents the aesthetic experience of a student of pedagogy in theirtraining process, from its inclusion as a research fellow in a project that seeks towork together with the school, the memories, experiences and narratives ofresidents some beaches of the Big Island in the municipality of Angra dos Reis,somewhat assisted by the government. The ultimate goal is to present throughmy narrative as this experience was constitutive of my look with and for theresearch.Keywords: esthetic and education; memory; knowledge and localpractices

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