CityWide Development Corporation的动态

In today's world, visual stimuli such as traffic signs, billboards, and urban planning are ubiquitous and have a substantial impact on our surroundings. However, the impact of Street Art on culture is a topic that is often overlooked. https://lnkd.in/gbDwECyK.

Chicago, widely known for its beloved public art installations, will be receiving a new slate of public works timed to the upcoming #DNC. GERTIE's “Next Stop: Chicago” is among the infrastructure-related projects by emerging artists and designers coming to Chicago next week. Gertie has awarded more than $400,000 in grants to seven community-led projects along the Chicago Transit Authority’s Green Line (which connects Chicago’s West and South Side to the convention locations and downtown) examining the nature of infrastructure and its importance for historically marginalized communities, especially post-pandemic. The initiative highlights the under-recognized work of communities along the CTA's Green Line — whose development have been bolstered by essential infrastructure in the form of public transportation, housing, and the creation of density to promote business and economic vitality. Read more in The New York Times.

Defending Local Identity: A Stand Against External Architectural Influence "It grieves me to think that we require an American justice system in Wimbledon." This response to the proposal for a Frank Gehry-designed concert hall underscores the discontent some feel about an extraordinary foreign architect imposing his vision on a place we call home. While Gehry's vision for a state-of-the-art music center promises to transform Wimbledon and enrich London's cultural life, it is seen by many as an affront to our collective security and the greater good. The idea that an outsider, however talented, can dictate the architectural landscape of our community is troubling. This project, far from being a unique opportunity, represents a challenge to our local identity and autonomy. Our community deserves development that respects and reflects our values, traditions, and needs, rather than surrendering to external influences that may not align with our collective interests. #LocalIdentity #ArchitecturalIntegrity #Wimbledon #CommunityValues #CulturalAutonomy #PreserveOurHeritage #LocalVoicesMatter #ArchitecturalSovereignty #ProtectOurHome #ResistExternalInfluence

In?"The City in the City,"?Amy Thomas?offers the first in-depth architectural and urban history of London's financial district, the City of London, from the period of rebuilding after World War II to the explosive climax of financial deregulation in the 1980s and its long aftermath. From the Big Tie to the Big Bang, it’s a heavy-hitting episode of Unfrozen. https://lnkd.in/gHsBbPZm

Parallel Lives: A Journey of Dreams, Discovery, and Connection In the bustling city of New York, Alex is a famous architect known for his unique designs. In Paris, Sam is a struggling artist. One day, they start having dreams about each other. These dreams are so vivid that they feel real. As they try to understand why this is happening, they discover a mysterious connection that goes beyond what they can explain. This connection leads them on a journey of self-discovery and understanding, teaching them important lessons about life and love.. read more click this link below: https://lnkd.in/dbqGmtCf

New on Parlour: Why do we continue to prioritise grand bastions of public art and culture? How can we shift focus to impactful work that helps the least fortunate in our society? Patrick Kenny explores the issues around social equity and public space, questioning what we choose to value and celebrate. “In a city where the built environment serves as both a canvas for architectural expression and a reflection of societal values, it’s saddening that we continue to gleefully highlight and promote the pomp and vanity of the rich, while generally ignoring the very real plight of the poor that surrounds us... Don’t get me wrong, I’m not suggesting that we need to defund the arts to pay for the homeless, but I’m sure I’m not the only one to see a lacklustre exhibition and wonder how much anyone actually got from it. And when you consider the significant costs to build, heat, insure and secure these gallery spaces, you do start to wonder if some of this funding could be more beneficial elsewhere.” Head to the website to read the full article, which is a thought-provoking read. https://lnkd.in/gBTUH-k6 #socialequity?#publicspace?#emergencyhousing?#priorities

MKE historic city third third ward

Notes on Trumpspace: Politics, Aesthetics, and the Fantasy of Home - PDF: https://lnkd.in/gyU5jcTC In the wake of the 2016 U.S. Presidential election, considerable ink was spilled on the architecture and interior design of the buildings owned and inhabited by Donald J.?Trump. In an effort to understand the inner workings of America’s first real-estate-mogul-in-chief, commentators remarked on everything from the president’s fastidious taste in window dressings to the exaggerated floor counts boasted by many?Trump-branded towers. Notes on Trumpspace takes this discursive trend as a point of departure. It examines not only key examples of “Trumpitecture” but also works of film, fiction, and contemporary art that center on or otherwise illuminate the psychogeography of “super luxury” real estate. Engaging closely with current political debates, the book takes a critical approach to mainstream liberal reactions to the Trump presidency. It argues that the fascination and horror Trump has provoked is owing in part to the way he lays bare the obsession with status, self-branding, and achievement-at-any-cost that has been part and parcel of the broader neoliberal ethos. Finally, it analyzes the January 6, 2021 storming of the US Capitol through the lens of spatio-political theorizations of settler colonial power and conceptions of home and homeland. A genre-defying work of political and aesthetic inquiry, Notes on Trumpspace is a sustained investigation into the relationship between the built environment, late capitalist fantasy, and national identity. It asks what it means for current and future understandings of home and dwelling that this era’s most notorious peddler of high-end real estate succeeded in peddling his way into the White House in 2016. #architecture #criticism; #Trump; #politics; #January6 #insurrection; #contemporaryart; #superluxury #realestate #aesthetics #fantasy #home

Hey folks, check out this fascinating blog post about how designer Scott Pask turned his Arizona home into a creative oasis. You'll be inspired by how he brings the desert spirit to life. Read the full article here: https://ift.tt/e1Ziaqm

Can the past help us to fall in love with the future? That's the question I was asked to address last week on a panel at Restitch, the community placemaking conference convened by Labour Together, CREATE STREETS and Onward. The things we love that are old, and the things we love that are new do not need to be different things. Some of University of the Arts London's most extraordinary campuses are buildings that have been transformed from an old life into bustling art schools: the former warehouse in Kings Cross that is now Central Saint Martins, University of The Arts London and the former military hospital on Millbank that now holds Chelsea College of Art and Design. We must stop imagining that preservation and innovation must always be in conflict. We preserve best when we test the boundaries of what a building can be. And we innovate best when we stay in dialogue with our history. But this tension between old and new is not the only polarity in this debate. On the panel, Ian Harrabin spoke of his own record in successful regeneration of heritage places, including Birmingham's Jewellery Quarter. Build for the creative industries first, he said. Locals will be sceptical of places with a bad reputation, he said, but people from out of town will trust you and move in. Then Tilak Parekh shared some of the history of the extraordinary Neasden Temple: old and new at the same time, bringing life and identity to its community in Brent. Those stories have one thing in common: they remind us that it is the disruptors, the creatives, the outsiders and the young who are often first to make regeneration possible. The protection of heritage and history that ‘locals’, traditionalists and older generations tend to prioritise is only possible if they embrace disruption too. Those who value community and heritage (as I do) cannot indulge a politics of rage against creativity, youth, or newcomers. This is something that conservatism used to understand. As Lampedusa put it in The Leopard, "Everything must change so that everything can stay the same." The culture war, which pits old against young, and tradition against innovation harms both.