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How might the urban structure and public space of Christchurch change as a result of the 2010 and 2011 earthquakes? This paper will look at council and community led post-earthquake urban space projects in Christchurch, New Zealand, to investigate the potential reconfiguration of urban public space and structure and the balance of top-down and bottom-up design processes for the delivery of these projects. This will be achieved by comparing the performance of the urban public space and structure of the city during the post-earthquake emergency and recovery phases, with a view to understanding the contribution that these elements can make to the resilience of Christchurch. The paper will argue that Christchurch’s nineteenth century urban structure served the population well during the emergency phases of the disaster and that post-earthquake community-led initiatives model innovative capabilities which may enhance urban design practice in the future.

This paper examines intermediate, semi-enclosed urban spaces and investigates the potential creation of environmental diversity when such spaces are integrated in urban design. More specifically, it focuses on the links between architectural characteristics of semi-enclosed spaces and their thermal performance. The paper identifies major types of semi-enclosed spaces and monitors their thermal performance in northern and southern Europe. The results showed that a wide range of thermal conditions, namely cooler conditions during summer and warmer conditions during winter can be experienced in both regions. Moreover, the thermal variation, which was identified, is linked with the spatial identity of each space and it is argued that the degree of enclosure as well as the orientation and the urban context are significant temperature determinants. Intermediate, semi-enclosed urban spaces should be regarded as important urban components that could increase the thermal and spatial diversity of the urban fabric and therefore contribute to a more fulfilling and comfortable environment.

Models of urban planning after authoritarian modernism raise the question of democratic control over the city and the possibility of imagining as a collective act. The paper examines systemic hindrances to free-thinking, and thus free-acting, embedded in urban communities. Through the case study of recent work by the art collective Department of Play, it illustrates the rationale for engaging public imagination specifically via play as world-building; and it posits the potential implications and limits of such activity as an intervention into city planning processes. Interested in liminal spaces between territory, language and social affiliation, the collective advances an agenda of productive dissent in public space through play and performance. Department of Play begins from the position that we can only plan that which we imagine, and thus exists as an effort to free the public imagination from modes of thinking dictated by the capitalist context.

Urban public open spaces are an important part of the urban environment, creating the framework for public life. The transformation of open space into successful public places is crucial in this regard. In the context of target-driven performance it is essential to identify the value of successful public open places, along with characteristics that define them. This research evaluated three case studies in Belgium (Namur, Wavre and La Louviere) which successfully transformed spaces into lively public open places. The transformation was captured by means of before-and-after imagery and analyses, and evaluated in terms of space-usage prior to, and after redesign, along with the experience and added value that the redesign brought to the area.

During the last two decades the literature on public space has registered the emergence of alternative forms of pubic space provision that depart from the traditional model of direct state ownership and management. The picture that emerges is a complex one, not so much one of privatization, but instead one of complex redistribution of roles, rights and responsibilities in public space governance to a range of social actors beyond the state. This paper discusses an approach to understanding the forms of publicness implicit in alternative forms of public space governance. Issues of rights, access, accountability and control could be examined in public space governance arrangements based on contracts, legal agreements and performance management mechanisms involving private and voluntary entities instead of the traditional public sector processes of policy delivery and accountability. The paper proposes a framework for investigating how ‘publicness’ is constructed and maintained through these arrangements.

The promotion of quality of life is becoming ever more important in a scenario of regional, national and even international competition among cities, triggered by globalization. Public sites, and green spaces in particular, which are available in varying extent in all urban areas, can bring important benefits to urban vitality and, as a consequence, to quality of life. However, cities are intricate entities and measuring their success in converting the potential for public green space usage into increased quality of life is a difficult task. In order to contribute to the objective of assessing the potential for public green space use, and its consequences on urban vitality, we applied the Data Envelopment Analysis technique to assess a total of 174 European cities. The results detect the best performing cities, and for the cities considered inefficient, a set of benchmarks is identified, whose best practices can be copied to support efforts of performance improvement.

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’.

After three decades of urban renewal in China, public spaces used by average residents have not been improved proportionally and, in some cases, have even deteriorated. Three problems can be identified. ‘Window-dressing’ prevails in government- developed squares and parks. Their locations and monumentality have made residents less willing to use these spaces. ‘Privatization’ describes how private developers maximize profits at the cost of public life in the urban environment surrounding their projects. ‘Gentrification’, different from its meaning in the West, refers to the tendency to ignore the needs of mid- and low-income residents in public facilities. Not entirely a repetition of the 1950s Western urban renewal, the Chinese cases reflect a society changing from a socialist system to a capitalist one.

Based on ethnographic fieldwork in the cities of Jakarta and Yogyakarta, this paper investigates the recent surge in the production and circulation of street art through technology and media in post-New Order Indonesia. The global style of street art communicates how public space and the street have become emblematic of changing discourses of individual rights, urban aesthetics, and the practice of citizenship in urban Indonesia. While the history of Western graffiti as a form of defacement and resistance continues to exert a powerful hold on the imagination of Indonesian street artists, I argue that the vernacular meaning of street art and graffiti refuses an easy bifurcation of public and private spaces, while blurring the lines between commercial and cultural urban interventions.

The popularity and impact of the High Line in New York mirrors the complex reality of contemporary provision of public space. The development of the project, its relation- ship to its surroundings and the evolving trend of elevated parks are analyzed in relation to the role of urban green space and impacts of Landscape Urbanism. The High Line shows the way to a new role for urban green space by utilizing abandoned infrastructure. In analysing the narrative of the High Line, this article stresses the importance of understanding localities and connectivity. Based on observations as well as a review of the literature and media, the article concludes that great landscaping does not create great places without careful consideration of the surrounding community and residents.

Throughout recent decades, socially-mixed neighborhoods have become a key element of urban policy and debate. This paper argues, with Amsterdam as an empirical case, that the design, layout and everyday use of social space—including public and private space—is of key importance in understanding the experiences and perspectives of social- mix policies amongst ‘urban practitioners’, such as planners, architects and management personnel. While the promotion of ‘liveability’, through the management of social problems, is often highlighted as a key element of social-mix policies, the findings presented indicate the degree to which the mixing of different groups according to ethnicity, race and social class presents a number of new challenges for liveability and management within both public and private space. Furthermore, it is argued that these challenges play a significant role in dictating the scale at which social mixing takes place, from the urban block to the street and at the neighbourhood level. It is concluded that a greater amount of attention is needed to such factors in understanding the dynamics of social interaction in public and private communal space when seeking to understand the everyday realities of socially- mixed neighborhoods.

The article discusses alternative wedding ceremonies staged in urban spaces as a statement of protest among immigrant couples that cannot marry in rabbinical courts, because they are not recognized as Jews. These public weddings are organized and sponsored by the Fishka association of young Israeli adults of Russian origin. Our field-work at Fishka included participant observation of its various events during 2013–2014, as well as in-depth interviews with the key informants, promotional materials, and video recordings of their public wedding ceremonies held in the streets of Tel-Aviv in 2009–2011. Embedded in the social history of the city and framed in the concepts of urban diversity and the politics of belonging, our ethnographic data juxtapose “Russian” street weddings with other public festivals sponsored by Fishka and other protest actions by minority groups. Alternative, civil weddings emerge as a form of active and critical citizenship among young Russian immigrants, seeking solidarity of other Israelis in the joint effort to reform the status quo and enable civil alternatives to Orthodox marriage. The active political stance and cultural activism of Fishka members challenge native Israelis’ monopoly on communal public space; young immigrants are thus carving a place for themselves in the iconic sites of the city’s public cultural sphere.

‘Urban identity’ is high on the policy agenda and pervades the discourse of the planning community on the value of historical city centres. Unfortunately, there seems to be, until today, no proposal in scholarly literature of any unified conceptual framework or any tools to make identity operational. ‘Tourism’ takes advantage of this process, by seeking the qualities of the place, its authenticity and its perceived uniqueness that is grounded on the physical features as well as on the presence of local communities – their way of living and investing in the place. The interdependence between identity as perceived by tourists (external observer) and the identity of the residents rooted in the relationship with the place (in-group) are key to addressing the identity of historic urban areas. These issues are addressed in the context of the growing attractiveness of Lisbon, Portugal, using a historic neighbourhood as a case study. The findings, which are on a set of interviews with different groups of users, showed the points of convergence and divergence between the different groups’ views of the neighbourhood’s identity. This actor-oriented approach is pivotal to understanding the process and to produce knowledge for informed action.

Singapore is a multi-racial island nation. The three main ethnic groups are Chinese, Malays, and Indians in respective descending numbers. Prior to the extensive provision of public housing, they lived in either of two forms of housing: timber houses with roofs of "atap"—a form of palm leaves, corrugated zinc plates or asbestos sheets, or rows of shophouses of more permanent materials, such as brick and mortar, and later concrete. The shophouses were found almost exclusively in the central area, while the former was found in ubiquitous semi-rural Chinese villages "kampongs"—the Malay word for village—or urban squatter.

The current deployment of large screens in city centre public spaces requires a substantial rethinking of our understanding of the relationship of media to urban space. Drawing on a case study of the Public Space Broadcasting project launched in the UK in 2003, this article argues that large screens have the potential to play a significant role in promoting public interaction. However, the realization of this potential requires a far-reaching investigation of the role of media in the construction of complex public spaces and diverse public cultures.

Public squares and open spaces for promenade have been a feature of Continental European cities since the Renaissance. In the seventeenth century purely recreational urban spaces began to be created in Britain and Ireland. The development of Dublin's green spaces, however, was delayed until after the Restoration, which saw the city transformed from a medieval walled city into a large, modern conurbation. Some of Dublin's open spaces were completely lost to development; others were embedded into the fabric of the new city. Green spaces were regularized into geometric shapes and used to entice developers and attract smart residents to new areas. The paper examines the development and metamorphosis of Dublin's ancient public spaces, looking at the activities that took place on these sites and their evolution from utilitarian areas of commonage to fashionable squares for promenade

Gulf cities have witnessed rapid urban growth where new migrant communities from various cultural backgrounds have been evolving over the last two decades. This paper explores perceptions of liveable urban environments in Qatar’s capital city, Doha. An attitude survey of 280 migrant professionals from different cultural backgrounds engaged in the high service sector was conducted. A profile for each cultural group including westerners, middle easterners, Indians and Southeast Asians was developed to analyse the way in which the key liveability factors are perceived. Factors were classified into two overarching categories: urban life and urban spaces. Urban life category included aspects that pertain to traffic and movement experience, residential satisfaction, shopping experience, and satisfaction regarding leisure and service spaces. Urban space category included attractiveness, iconicity and familiarity, which were attitudinally explored in four public open spaces. The inquiry has uncovered a number of concerns related to traffic experience, housing quality, parking spaces, school facilities and shopping opportunities. This may stymie the city’s global attractiveness success on the global stage while warranting the need for addressing liveability as a part of future development plans.

Art in public space in South Africa is increasingly a more visible locus of sociopolitical resistance and recalibration of the public sphere. This article focuses upon an emblematic example: the sculpture of a former colonialist, removed from its public university site in Cape Town following sustained protests. Since April 2015, the empty plinth of Cecil John Rhodes has become a site of re-imagination – from graffiti interventions to performance and installation art. While the plinth continually morphs in symbolism and significance, its ousted artwork waits at an undisclosed location for its fate to be decided. This interregnum represents a liminal condition that theorists call ‘third space’, extended in this research towards a fourth dimension of performativity. The physical disappearance of the artwork has triggered a second life, its apogee a national protest movement with global resonance. Rhodes Must Fall and Fees Must Fall are student-led calls for university decolonisation and free education arguably best understood as provocation around systemic issues in society. As this deeper work ensues amid fractious contestations, the artwork's re-animation of the public sphere is clear. Its leftover plinth is political, making visible other kinds of structural voids. It is also poetic: a zombie monument demonstrating through its reinventions public space as common space – contested, negotiated and performed in the daily creation of city futures.

The present study investigated the effects of public art on visual properties and affective appraisals of landscapes. Undergraduate and graduate students sequentially viewed landscapes with or without public art and rated each one for visual properties and affective appraisals. Study 1 revealed that the presence of public art reduced pleasantness of the natural scene, but did not reduce that of the urban scene. In Study 2 focusing on the urban landscapes, the t-tests showed that public art consistently yielded greater arousal and the visual properties related with arousal level (e.g., complexity), whereas for pleasantness and the visual properties related with pleasantness (e.g., legibility) the scores varied with the public artworks. Adopting the experimental design that systematically combined 4 landscapes with 2 pieces of public art, Study 3 revealed that the affective quality of public art had more influence on the landscapes than the compatibility between public art and the landscapes.

This paper plots the recent changes in the uses of public space in Hanoi, Vietnam. It is argued that the economic and social changes in contemporary Vietnam have paved the way for a dramatic transformation in the ways in which streets, pavements and markets are experienced and imagined by the populace. The efflorescence of individual mobility, street-trading and public crowding around certain popular events has led to the emergence of a distinct public sphere, one which is not immune from state control and censure but which is a flagrant rebuttal of the state's appeal. The immediate struggles over space herald a new discursive arena for the contest over Vietnamese national imagery as represented in cultural heritage and public space, memorials and state-controlled events which the public are rapidly deserting. The paper concludes by suggesting that the everyday cultural practices that have created a bustling streetlife in urban Vietnam will inevitably provide the vitality and spectacle for the destabilisation of state control in a struggle for meanings in public space.