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The purpose of this paper is to analyze the art-based project of Full Llove Inn as a tactical urbanism intervention and urban tourist attraction. The project consisted of an elevated room-car, displayed in the public space of Amsterdam from August 2006 to September 2007.

The research was conducted between December 2017 and November 2018 in Amsterdam. The study applied the methodological tools of semi-structured interviews, textual analysis and participatory observation.

Full Llove Inn provided an extraordinary allure for visitors and residents. It created a sense of intra-personal and inter-personal existential authenticity for local and non-local guests, respectively, while introducing a pop-up hotel as a new form of tactical initiative.

Due to the inability to contact non-local guests for interviews, the only source of data was based on tourist experiences about Full Llove Inn derived from the hotel guest book.

The research suggests that pop-up hotels may be used by Destination Management Organizations as a means of strengthening the brand image and creating a competitive edge for cities.

The research indicates that art-inspired tactical interventions in the public space of civic environments could constitute a social capital while generating interactions between residents and visitors.

For the first time in the tourism literature, this study investigates the impact of tactical projects on destination branding from the perspective of both locals and visitors.

The purpose of this paper is to identify the value of the arts play in public spaces in replicating a contemporary commons.

The study is an exploratory investigation which uses a case study of cultural events in public parks – the Vancouver Parks Board’s fieldhouse residency program (2012-2015). The study uses content analysis of the social media sites created for these projects to identify how the sites and the cultural events were valued by stakeholders and participants.

The paper finds that, in combination, the park events and the social media discussion of them function as a form of the commons, in which new urban communities are formed or defined around specific common social interests.

The paper finds that, in combination, the park events and the reflective engagement prompted by the social media discussion of them function as a form of the commons, in which new urban communities are formed or defined around specific common social interests.

It is anticipated that cultural programs will increasingly interact with common public places.

The study supports the increased use of and recognition of public places as culturally significant.

The study aims to encourage the expansion of arts and cultural policy and programs to incorporate common public places.

The development of public art in French New Towns in the 1970s and 1980s was one of the most spectacular forms of state intervention in urban policy. Along with the new architecture programmes, the hundreds of works of art that adorn the public realm of the French New Towns help to differentiate them from the grands ensembles. This public art, which was highly publicised at the time, represents a heritage intrinsically linked to the urban history of New Towns but also to the history of French cultural policies at the end of the twentieth century. Artistic and town planning innovations underlie many public art projects. Artists and town planners participated, on a city scale, in the cultural developments that sought to respond to the expectations of the May 1968 crisis. In New Towns, the role of art was not simply to provide a backdrop to beautify the city but also to contribute to the success of new urban neighbourhoods. This involved placing visual landmarks in the urban space, confronting the residents with living art (painted walls, sculpted staircases, light paths, etc.).

The appropriation of these works of art by the public and councils was far from unanimous. It was only at the beginning of the twenty-first century that a heritage reflection emerged and led to a list of works of art being drawn up, with a view to protecting them. With the disappearance of state supervision over certain New Towns (1998–2002), damaged works has become a stigma in the public realm. A policy of restoration is being therefore introduced in certain New Towns, with public art participating in the identity of councils that do not hesitate to present themselves as ‘contemporary towns’ and take on the restoration or achievement of certain works that they now consider to be their heritage.

The purpose of this paper is to begin unfurling the cultural value of street art experiences by opening up an audience-centred research stream sensitive to the nuances of this art form.

The paper develops a two-part model through which to investigate how everyday citizens experience street art. The methodology involves a purposeful literature review, and direct assessment of how the nuances of street art could pertain to audience experiences.

The first part of the model conceptualises the characteristics that distinguish contemporary street art from other art forms. To help further guide future research, the second part distinguishes six layers that frame street art audience experiences: (1) “the art”, (2) artist's intentions for the art, (3) the street artist, (4) experiential context, (5) social contexts and (6) audience interpretive lenses.

The investigative model provides a constructive stimulus for substantive empirical inquiries into the dynamics, complexities and implications of everyday street art experiences.

The research stream developed could inform appropriate approaches to facilitating street art, and collaboration amongst street artists, facilitators, municipal representatives and policymakers.

The paper helps to open up an audience-centred approach to street art that intersects with recent developments in arts experience, cultural value and arts marketing.

The purpose of this paper is to provide an overview of the Professional Doctorate by Public Works (DProf by Public Works) one of the newer Doctorates by Professional Studies from the Institute of Work Based Learning in Middlesex University.

The DProf by Public Works is based on 75 per cent practice that has already taken place, and the 25 per cent Contextual Statement is a reflection on this practice encapsulated in no more than six Public Works, which places the researcher at the centre of the enquiry.

This paper focuses on a particular DProf by Public Works entitled “An entrepreneurial curatorial strategy for public spaces” and outlines how it was achieved by detailing the inter-professional and trans-disciplinary approach taken. The process undertaken to produce a self-reflexive and self-positioning statement reflecting on over ten years of independent curatorial practice of public art exhibitions is examined.

The Public Works and its supporting Contextual Statement make up the DProf by Public Works. These can be published works in the traditional sense or other embodied expressions of knowledge and practice such as collections of artifacts, videos, photographic records, musical scores, artworks, and exhibitions. This paper explores how individual critiquing at the highest level of enquiry in the Contextual Statement can transform research into future real-world strategic directions that influence thinking, action, and practice in the public domain.

Labs are meant for the creation of new products and services or to overcome innovation challenges (Carstensen & Bason, 2012). Media labs, besides the name, go beyond the media industry concepts to respond to technology, communication, and economic changes (Bisso Nunes & Mills, 2021). For that, they integrate public spaces, media, arts, and tech. In short, media labs are organizational structures that allow for experimentation and development, and facilitate open innovation and individual and organizational learning. Many media labs are focused on accelerating media involvement in functional and experimental innovations and rise in a context unrelated to the temporality of media content production, on a systematic innovation approach. But media labs also represent great diversity. In this chapter, we explore key elements of the media lab phenomenon: history, definition, evolution and appearance globally and in Latin America, emergence beyond the media industry, and, by the end, final thoughts about media labs' roles amid future organizational and technological transformations.

The purpose of this paper is to understand urban sculpture venues that emerged in the recent decade and their connections to the on-going entrepreneurial urban policies and urban strategies in Shanghai. How does this phenomenon relate to Shanghai’s urban policies? How does urban sculpture development reflect the nature and characteristics of the urban sculpture authority?

Case study is the major research method used to achieve an in-depth understanding of the developmental processes, mechanisms and characteristics of urban sculpture projects. Three cases were selected and studied using purposeful sampling methods, including Duolun Road Sculpture Project (2002), the Shanghai International Sculpture Center (2006) and the Jing’an Sculpture Park (2009).

A twofold main argument is established in this paper. Urban sculpture venues emerged as a new type of instrument to advance urban entrepreneurial policies; the use of this instrument, however, also involves politics in that art politically transforms the features and functions of open spaces in Shanghai.

Although scholarly interest in exploring cultural development through urban planning in the Chinese context is evident, urban sculpture planning (termed as “urban sculpture” in the Chinese ideological context) in Chinese metropolitan cities, in particular, is an unexplored topic, and thus leaves a gap in the knowledge. This paper introduces a new conceptual model, i.e., “aesthetic regime,” to describe the role of the urban sculpture authority in the development of the urban sculpture scene. It looks at the artistic representation of artworks, design of the sculpture venues, functionality of the artworks and social mechanisms for the actualization of these projects. An evolutional trend of the three sites across the decade is concerned.

Hybrid organising faces a fundamental challenge in managing multiple and conflicting logics. Prior studies have evidenced the performative role of accounting within such a context largely in support of neoliberal hegemony and economic logic. Mindful of such conflict and the support towards economic logic, drawing on universal accountings, this study provides insights from counter accounting and its potential to serve pluralism and the emancipation of marginalised constituencies.

The research examined The Great Exhibition of the North (GEOTN), England's largest event in 2018, which utilised themes of art, design and innovation to support a regeneration and economic growth agenda. This was led by NewcastleGateshead Initiative (NGI) a hybrid organisation combining logics for economic and social legacies, whose accounts are contrasted to counter accounts from a social movement; The Other Great Exhibition of the North, “OtherGEN”. The study involved 30 in-depth semi-structured interviews, detailed observation and documentation review providing account and counter account of the event.

The findings reveal that GEOTN promoted an agenda offering a duality of economic and social logics through the arts and culture delivering a lasting economic and social legacy. This employed traditional accountings and associated performance targets and measurement through a formal evaluation framework. Emergent tensions were apparent evidencing a more dominant economic logic. The purported use of culture was portrayed as artwashing by a counter account narrative enmeshed in a backdrop of austerity. This wider accounting highlights the need for reflection on logic plurality and enables challenge to the performative role of traditional accounting in hybrid organising.

Universal accountings, such as counter accounting, can be advanced to unpack “faked” logics duality in hybrid organising. This reveals the emancipatory potential of accountings and the need for dialogic reflection. Hybrid organising requires careful consideration of accounting as a universal praxis to support social and economic pluralism and democratic ideals.

This paper aims to discuss the spatial interactions of street music in public spaces. It proposes to clarify why relationship between street music and people in public spaces is important and how street music evokes an external stimulus on people.

The conceptual framework of this paper is based on the triangulation process of Whyte and the qualities of public spaces, forming a relationship between space and people produced from the seminal literature of the paper. Accordingly, a case study based on the qualitative research method was conducted in Istiklal Avenue, where street music performances can be observed for long term. During the field work which spans a period of 12 months, 10 spots of street music performances have been observed and photo–video documentation was collected.

This paper provides empirical insights on how the triangulation process reflects social interactions in public spaces. This also suggests the triangulated position of street music as an external stimulus relating with the people as actors of daily urban flux.

Regarding to the chosen research approach which is based on deeper understanding, this paper interrelates the interactions of street music and people in public space.

This paper includes qualitative research steps of data collection and disaggregates findings with a “Cross Matrix Table” proposed at the end of the study.

The proposed disaggregating “Cross Matrix Table” and case study fulfil an architectural need to research how everyday street art activity can reflect the qualities of public space.

This paper aims to investigate the impact of place-making on the quality of place through community-organised art festivals, with two case studies in urban informal settlements or kampungs in Indonesia.

Findings presented here are based on data collected and 39 in-depth interviews conducted in 2017 in two kampungs, namely, Kampung Dago Pojok, Bandung and Kampung Bustaman, Semarang.

This paper argues that place-making can happen through temporary practices, such as festivals, and improve the quality of place in informal settlements. It indicates and analyses the kinds of activities that increase the aesthetic value of spaces and build a positive image of the kampungs. The study concludes with the finding that place-making through temporary interventions has the potential to permanently change and reshape public space. At the core of these activities is the collective and voluntary work known as kerja bakti that is done by the kampung communities and the civil society organizations involved.

The paper offers a fresh perspective in the context of understanding the implications of place-making in the Global South. Assessing the development of public space, the paper provides insights into the use of grassroots festivals as a tool to permanently reshape urban spaces and engage the local community throughout the process.