City as a Work of Art: Western Urbanism 1960 to the

present day
HIAR10087
SCQF Level 10, 20 credits
2016/17
Seminar Room 5, Minto House

If you require this document or any of the internal University of

Edinburgh online resources mentioned in this document in an alternative
format please contact Sue Cavanagh (sue.cavanagh@ed.ac.uk, 0131
651 1460).

Table of Contents
Contacts ........................................................................................................................... 1
Overview.......................................................................................................................... 1
Course Outline ................................................................................................................. 2
Reading List ...................................................................................................................... 2
Attendance Monitoring .................................................................................................... 8
Student Support ............................................................................................................... 9
Adjustments ............................................................................................................................ 9

Assessment and Feedback Information ............................................................................. 9

Formative Assessment ............................................................................................................. 9
Summative Assessment ........................................................................................................... 9
Essay ............................................................................................................................................. 10
Extensions .............................................................................................................................................. 10
Penalties ................................................................................................................................................. 10

Take-Home Exam ......................................................................................................................... 10

Marking Scheme .................................................................................................................... 10
Feedback ............................................................................................................................... 11
Release of Final Marks ........................................................................................................... 11
Academic Misconduct and Plagiarism ..................................................................................... 11

Style and Referencing Guidance...................................................................................... 11

Student Feedback ........................................................................................................... 11

Contacts
Course Organiser Dr Igor Stiks
History of Art
Room C.21, Hunter Building
74 Lauriston Place
Edinburgh
EH3 9DF
Email:i.stiks@ed.ac.uk
Telephone: 6517112
Office Hours: Thu 12.00-2.00
Course Secretary

Mrs Sue Cavanagh

ECA Undergraduate Teaching Organisation
Room O.27, Hunter Building
74 Lauriston Place
Edinburgh
EH3 9DF
Email: sue.cavanagh@ed.ac.uk
Tel: 0131 651 1460
Monday and Thursday 10.00 17.15
Tuesday and Wednesday 10.00 15.00

Overview
Course Descriptor (http://www.drps.ed.ac.uk/16-17/dpt/cxhiar10087.htm)
This is an urban theory course for art historians. It surveys key ideas in urban theory
from the past 30 years, focused on two related concepts: the aestheticisation of the
city through the rhetoric of creativity, and the politicisation of the city through urban
citizenship and activism. Both trends have been accompanied by a striking trend
towards (re) urbanization, and some spectacular architecture that puts culture at its
heart. These attempts are usually followed by social and political controversies and
could stir public uproar and resistance. The course provides a critical examination of
these trends, focused on the experiences of Europe, Latin America and the United
States. It explains how we got to this point, where we are now, and likely
developments. No previous knowledge of urban theory is required. The main
requisites are an open mind, and the willingness to read widely and eclectically. A key
question throughout is: how do contemporary ideas about urban life make themselves
visible? We will ask this repeatedly, and in different ways.
Timetable (https://browser.ted.is.ed.ac.uk/)

Week 1: INTRODUCTION: HOW TO READ CITIES

22 September 1410-1600
Week 2: THE GLOBAL CITY: GLOBALISATION, IDENTITIES AND CONFLICTS
29 September 1410-1600
Week 3: THE CREATIVE CITY: THE BACK STORY AND THE BACKCLASH
6 October 1410-1600
Week 4: THE CITY OF INDUSTRY: LOFTS AND RUINS
13 October 1410-1600
Week 5: THE CITY OF ICONS
20 October 1410-1600
Week 6: THE DIVIDED CITY: RACE, CLASS, ETHNICITY, RELIGION
27 October 1410-1600
Week 7: READING WEEK NO CLASS THIS WEEK
Week 8: THE CITY AS PUBLIC SPACE
10 November 1410-1600
Week 9: THE RIGHT TO THE CITY
17 November 1410-1600
Week 10: THE ART OF URBAN CITIZENSHIP
24 November 1410-1600
Week 11: DISCUSSION FORUM: THE FUTURE OF CITIES
1 December 1410-1600

Course Outline and Reading List

Week 1: INTRODUCTION: HOW TO READ CITIES
22 September 1410-1600
In this class: approaches and methods key ideas and images some contemporary
stories about cities
Key reading:
Jacobs, J., The Death and Life of Great American Cities (London, Pimlico, 2000), pp.
60-3.
LeGates, R. and F. Stout (eds.) The City Reader (London: Routledge, 2005), pp. 1318.

Further reading:
Ehrenhalt, A., The Great Inversion and the Future of the American City (New York:
Vintage Books, 2012)
Self, W., It Hits in the Gut, London Review of Books, 34, 5 (8 March 2012), pp. 22-4.
Williams, R. J., The Anxious City (London: Routledge, 2004), pp. 1-24.
Week 2: GLOBAL CITY: GLOBALISATION, IDENTITIES AND CONFLICTS
29 September 1410-1600
In this class: what happened to cities over last three decades; what is globalization
and how it concentrates activities and wealth in particular cities; how migrations and
flows of people and capital change our urban environment; how it creates conflicts;
what is the future of urbanized planet?
Key reading:
Sassen, S. Global City: Introducing a Concept, Brown Journal of World Affairs 11, 2
(2005), pp. 27-43.
Taylor, P. J. Global City Network, in LeGates, R. and F. Stout (eds.) The City Reader
(sixth edition, London: Routledge, 2016), pp. 93-101.
Further reading:
Brenner, N. and R. Keil, From Global Cities to Globalized Urbanization, in LeGates,
R. and F. Stout (eds.) The City Reader (sixth edition, London: Routledge, 2016),
pp. 667-676.
Ong, A. Mutations in Citizenship, Theory Culture Society 23, 2-3, (2006): 499-505.
Sassen, S., Global City: New York, London, Tokyo (Princeton: Princeton University
Press, 1991)
Week 3: THE CREATIVE CITY: THE BACK STORY AND THE BACKCLASH
6 October 1410-1600
In this class: contemporary theories of the creative city the Richard Florida
phenomenon typical applications creative versus cultural cities; critique of the
creative city
Key reading:
Florida, R., The Rise of the Creative Class: Why cities without gays and rock bands
are losing the economic development race, Washington Monthly (May 2002),
available at
http://www.creativeclass.com/rfcgdb/articles/14%20The%20Rise%20of%20the
%20Creative%20Class.pdf
Florida, R., The Rise of the Creative Class (New York: Basic Books, 2002) extracts
in LeGates, R. and F. Stout (eds.) The City Reader (sixth edition, London:
Routledge, 2016), pp. 163-169.
Pack, J. Struggling with the Creative Class, International Journal of Urban and
Regional Research 29, 4 (December 2005), pp. 740-770.
Pasquinelli, M. Beyond the Ruins of the Creative City: Berlins Factory of Culture

and the Sabotage of Rent, a conference presentation, (December 2008).

Available at
http://matteopasquinelli.com/docs/Pasquinelli_Beyond_the_Ruins_of_the_Crea
tive_City.pdf
Further reading:
Landry, C., and F. Bianchini, The Creative City (London: Demos, 1995)
Buskirk, M., Creative Enterprise; Contemporary Art Between Museum and
Marketplace (New York: Continuum, 2013)
Caves, R. E., Creative Industries: Contracts Between Art and Commerce (Cambridge,
Mass. and London: Harvard UP, 2000)
Chapain, C., C. Collinge, P. Lee, S. Musterd (eds.), Can We Plan the Creative
Knowledge City?, special issue of Built Environment, 35, 2 (2009)
Collinge, C., and S. Musterd, Deepening Social Divisions and the Discourse of
Knowledge and Creativity across the Cities of Europe, Built Environment, 35, 2
(2009), pp. 281-5.
Hoyler, M., and Watson, A., Global Media Cities in Transnational Media Networks,
Royal Dutch Geographical Society 104, 1 (2013), pp. 90-108.
Landry, C., The City as a Lived Experience, text of article originally in Monocle (2007)
Landry, Creativity, Culture and the City, text of talk (2011)
NESTA, A Manifesto for the Creative Economy (London: NESTA, 2013)
Week 4: THE CITY OF INDUSTRY: LOFTS AND RUINS
13 October 1410-1600
In this class: the re-use of industrial buildings for culture loft living as lifestyle,
examples from New York and London on the other side, abandoned industrial
landscapes and ruins (e.g. Detroit)
Key reading:
Griffin, J., Escape from New York, Apollo, 178, 611 (July/Aug. 2013), pp. 62-67.
Zukin, S., Loft Living: Culture and Capital in Urban Change (Baltimore and London:
Johns Hopkins University Press, 1982), pp. 58-81.
Apel, D, The Ruins of Capitalism, Jacobin, 5 June 2015, available at
https://www.jacobinmag.com/2015/06/ruin-porn-imagery-photography-detroit/
Further reading:
Architects Journal, review of Tate Liverpool, Architects Journal 27, 187 (6 July 1988),
pp. 32-50.
Fer, B., A. Hudek, M. Nixon, J. Stallabrass 'Round Table: Tate Modern', October, 98
(Fall 2001) pp. 3-26.
Foote, N., The Apotheosis of the Crummy Space, Artforum, 15 (October 1976), pp.
28-36
Greenberg, R., 'The Exhibition Redistributed: A Case for Reassessing Space' in R.
Greenberg, B. Ferguson, and S., Nairne (eds. 1996) Thinking About Exhibitions,
London, pp. 349-70.
Hall, P., Cities of Tomorrow (Oxford, Blackwell, 1996), pp. 342-60.
Harvey, D., Spaces of Hope (Edinburgh: EUP, 2002) pp. 133-81.

Miles, S., Spaces for Consumption (London: Sage, 2010)

Moore, R. Building Tate Modern (London: Tate Gallery) 2000.
Sabbagh, K., Power into Art (London: Tate Gallery, 2000).
Williams, R. J., After Modern Sculpture (Manchester: MUP, 2000), pp. 100-117.
Williams, R. J., The Anxious City: English Urbanism at the End of the Twentieth
Century (London: Routledge, 2004) pp. 107-28 and 179-99.
Week 5: THE CITY OF ICONS
6 November 1410-1600
In this class: a discussion of architecture as icon-building - key case studies from the
Pompidou Centre onwards relation to city strategies of city branding relation to
global capital markets
Key reading:
Florida, R., The World is Spiky, Atlantic Monthly (October 2005) pp. 48-51.
Moore, R., Walkie Talkie Review: Bloated, Inelegant, Thuggish, Observer (4 January
2015)
Sklair, L., Iconic Architecture and the Culture-ideology of Consumerism, Theory,
Culture & Society, 27, 5 (2010) pp. 135-159.
Further reading:
Banham, R., The Pompidou Centre, Architectural Review 161, 963 (May 1977), pp.
270-94.
Filler, M., The Master of Bigness, New York Review of Books (10 May 2012)
Foster, N., Boeing 747 in On FosterFoster On (Munich: Prestel, 2000) pp. 588-91
Frampton, K., Modern Architecture: A Critical History (London: Thames and Hudson,
1992) pp. 280-313.
Frampton, K., On Norman Foster, in N. Foster, On FosterFoster On (Munich:
Prestel, 2000) pp. 384-403.
Jencks, C., The Iconic Building (New York: Rizzoli, 2005)
Moore, R., Zaha Hadid: Queen of the Curve, Observer (8 September 2013)
Powell, K., Lloyds Building: Richard Rogers Partnership (London: Phaidon Press,
1994)
Sudjic, D., The Edifice Complex: The Architecture of Power (London: Penguin, 2011)
Zukin, S., Space and Symbols in an Age of Decline (extract) in Miles, M., T. Hall, and
I. Borden, (eds.), The City Cultures Reader (London: Routledge, 2000)
Week 6: THE DIVIDED CITY: RACE, CLASS, ETHNICITY, RELIGION
27 October 1410-1600
In this class: we witness a proliferation of internally divided cities, based on race,
ethnicity or religion to class and drastic social inequalities; visible and invisible walls
often separate communities; concentration of wealth is followed by explosion of
ghettos, isolated suburbs and slums; is conflict a norm of contemporary urban life?
Key reading
Baudrillard, J. The Riots of Autumn or The Other Who Will Not Be Mothered,

International Journal of Baudrillard Studies, 3, 2 (July 2006), available at

http://www2.ubishops.ca/baudrillardstudies/vol3_2/riots.htm
Dasgupta, R., Maximum Cities, New Statesman (27 March 2006), available at
http://www.newstatesman.com/node/163988
Davis, M., Planet of Slums, New Left Review, 26 (April 2004) pp. 5-34. Available
online at http://www.newleftreview.org/?view=2496
McQuiston, L. Divided Countries and Cultures: Signs of Tension and Resolve, in
Visual Impact: Creative Dissent in the 21st Century (London and New York:
Phaidon, 2015), pp. 144-191.
Further reading
Burdett, R., and D. Sudjic, Living in the Endless City (London: Phaidon, 2011)
La Biennale di Venezia, 10 Mostra Internazionale di Architectura: Cities, Architecture
and Society (Venice: Marsilio, 2006)
Bradshaw, P., Review of City of God, Guardian (3 January 2003). Available online at
http://arts.guardian.co.uk/fridayreview/story/0,,867667,00.html
Calame, J. and E. Charlesworth, Divided Cities: Belfast, Beirut, Jerusalem, Mostar,
and Nicosia (Philadelphia: University of Pennsylvania, 2009).
Davis, M., Planet of Slums (London: Verso, 2006)
Diken, B., City of God, City 9, 3 (December 2005) pp. 307-20.
Eisinger, P. Is Detroit Dead, Journal of Urban Affairs, 36, 1 (2014), pp. 1-12.
Forty, A. and E. Andreoli (eds.) Brazils Modern Architecture (London: Phaidon,
2004) pp. 106-39.
Perlman, J., The Myth of Marginality: Urban Poverty and Politics in Rio de Janeiro
(Berkeley and Los Angeles: University of California Press, 1976)
Sharro, K., Lagos/Koolhaas, Culture Wars (4 August 2006). Available online at
http://www.culturewars.org.uk/2006-01/koolhaas.htm
Turner, J., The Squatter Settlement: an Architecture that Works, Architectural
Design, (October 1968), pp. 355-360.
Williams, R. J., Brazil: Modern Architectures in History (London: Reaktion, 2009)
See also the films B. van der Haak (dir.), Lagos Up Wide and Close (DVD, 2006) and
F. Meirelles (dir.) City of God (DVD, 2003)
Week 7: READING WEEK NO CLASS THIS WEEK
Week 8: THE CITY AS PUBLIC SPACE
10 November 1410-1600
In this class: creation of public space and public man; the politics of public space from
the 18th to 21st century; shrinking of public space and struggle for public and common
space today
Key reading:
Becker, C. Microutopias: Public Practice in the Public Sphere, in Living as Form:
Socially Engaged Art from 1991-2011, ed. N. Thompson, MIT Press, 2012, pp.
64-71.

Harvey, D., The Political Economy of Public Space, available at

http://davidharvey.org/media/public.pdf
Sennett, R., The Fall of Public Man (London: Faber and Faber, 1977) pp. 3-27
Further reading:
Arendt, H., The Human Condition (Chicago: University of Chicago Press, 1958), pp.
22-78.
Ash, A. Collective Culture and Urban Public Space, City,12, 1 (2008).
Habermas, J., The Structural Transformation of the Public Sphere (Cambridge: Polity
Press, 2002)
Rowe, P. G., Civic Realism (Cambridge (Mass.) and London, MIT Press: 1999)
Sennett, R., Flesh and Stone (New York: Norton, 1996)
Williams, R. J., The Anxious City: English Urbanism at the End of the Twentieth
Century, (London: Routledge, 2004), pp. 129-53.
Week 9: THE RIGHT TO THE CITY
17 November 1410-1600
In this class: the right to the city: from the concept to pan-global actions
Key reading:
Harvey, D., The Right to the City, New Left Review, 53 (Sept/Oct 2008): 23-40.
Holston, J. and A. Appadurai, City and Citizenship, Public Culture 8 (1996): 187204.
Lefebvre, H., The Right to the City, in Writings on Cities (Oxford: Blackwell, 1996),
147-59.
Further reading:
Chomsky, N., Occupy (London: Penguin 2012)
Harvey, D., Spaces of Hope (Edinburgh: Edinburgh University Press, 2002)
Harvey, D., Rebel Cities (London: Verso, 2012)
Merrifield, A., Citizens Agora: The New Urban Question, Radical Philosophy 179
(May/June 2013).
Runciman, D., Stiffed, London Review of Books, 34, 20 (25 October 2012), pp. 7-9
http://www.lrb.co.uk/v34/n20/david-runciman/stiffed
Week 10: THE ART OF URBAN CITIZENSHIP
24 November 1410-1600
Key reading
Flood, C. and Grindon, G., Introduction, in Disobedient Objects, eds. C. Flood and
G. Grindon, London: V&A Publishing, 2014, pp. 6-25.
McQuiston, L. Discontent and Uprisings: Economic and Political Unrest, in Visual
Impact: Creative Dissent in the 21st Century (London and New York: Phaidon,
2015), pp. 26-101.
Further reading
Badiou, A., Does the Notion of Activist Art Still Has a Meaning, Lacanian Ink, 2010,

available at: http://www.lacan.com/thesymptom/?page_id=1580

Groys, B., On Art Activism, e-flux journal 56, June 2014
Ranciere, J., Politics and Aesthetics, an interview by Peter Hallward, Angelaki
Journal of the Theoretical Humanities 2 (8), 2003: 191-211.
Thompson, N. (ed), Living as Form: Socially Engaged Art from 1991-2011, MIT Press,
2012.
Week 11: DISCUSSION FORUM: THE FUTURE OF CITIES
1 December 1410-1600 North-East Studio Building room j03
Review of the course open discussion with participation of Prof Richard Williams
and Dr Harry Weeks; how to take the ideas forward to dissertation research
Key reading: to be identified in week 10

Attendance Monitoring
What happens if you dont attend?
Your programme handbook outlines the attendance requirements. If you fail to fully
engage with your studies, you risk exclusion from your programme and from the
University. If you are a Tier 4 sponsored student, you also risk your sponsorship
status and right to remain in the UK.
Keep in contact with us
If you know you are going to miss a seminar where a register is taken then you must
let us know (see below). You should outline the reason for not attending. If you
have a valid reason for not attending i.e. something outwith your control such as
illness, emergency care for a dependant etc. then we will mark you as exempt from
attending. Please contact us in advance if this is not possible then contact us
within 5 working days of the event. It is important to note that poor timemanagement is not a valid reason so the following would not be accepted as valid
reasons for being absent: you slept in; you had commitments to other work/paid
employment.
Whilst we do not expect every student to have a 100% attendance record, we do
expect you to engage with your studies. We will regularly monitor your attendance
record to identifying if you may be experiencing difficulties and we will contact you to
ensure that timely and appropriate intervention can be made to prevent nonattendance becoming a serious matter.
Who to contact:

For teaching events and assessment email the Course Organiser and
Course Secretary (sue.cavanagh@ed.ac.uk) to let them know
If you are going to miss a number of classes or other programme level
events e.g. induction or miss a number of classes e.g. you will be unwell
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for more than a couple of days then please email your Personal Tutor
with a copy of your email to the Student Support Office in your School
(eca-sso@ed.ac.uk for ECA students).

Student Support
Your programme handbook outlines the student support arrangements available. If
you are experiencing a serious or ongoing situation that is impacting your ability to
engage with the course or the assessment, you should discuss with your Personal
Tutor or Student Support Officer whether to apply for Special Circumstances.

Adjustments
Students with declared disabilities will have a learning profile. The Course Organiser
will make adjustments in accordance with the recommendations of the profile.
Please contact the Student Disability Service if you have any questions:
Web: www.ed.ac.uk/student-disability-service
Email: Disability.Service@ed.ac.uk
Tel: 0131 650 6828

Assessment and Feedback Information

Formative Assessment
For this course there is one piece of formative assessment:
a. Students will be expected to deliver one seminar presentation in class,
lasting about 15 minutes. Further information will be provided in week 1
b. The feedback will be given verbally in class and during the office hours
Formative Assessment does not count to your final grade/mark but is used to
support your learning. Feedback on formative assessment is designed to help you
learn more effectively by giving you feedback on your performance and on how it can
be improved and/or maintained.

Summative Assessment
For this course there are two pieces of summative assessment, equally weighted:
1. 2000-word Essay (50%), due in Week 10
2. 2000-word Take-Home Exam (50%) in the December Diet
Summative Assessment counts to your final grade/mark. It evaluates your learning.

Essay
Essay Questions will be published on Learn in Week 2. You must submit your essay
via Learn by 12 noon on Friday, 25 November. Detailed submission instructions
are available on Learn.
Extensions
Information and guidance on applying for an extension is available on Learn.
Penalties
If assessed coursework is submitted late, without an agreed extension to the
deadline for an accepted good reason, it will be recorded as late and a penalty will
be exacted. For coursework that is a substantial component of the course and where
the submission deadline is more than two weeks after the issue of the work to be
assessed, that penalty is a reduction of the mark by 5% of the maximum obtainable
mark per calendar day (e.g. a mark of 65% on the common marking scale would be
reduced to 60% up to 24 hours later). This applies for up to seven calendar days (or
to the time when feedback is given, if this is sooner), after which a mark of zero will
be given. The original unreduced mark will be recorded by the School and the
student informed of it.
Word Limit: If written work, including the Take Home Exam, is more than 10% over
or under the prescribed word-length, then marks may be deducted, according to the
following scale: 1 mark to be deducted for every 100 words (or part of 100 words)
that it is over- or under-length (excluding the allowed 10% margin). So for example,
in the case of a coursework essay for which the word-limit is 2000 words, no penalty
will be applied if the essay is 1800 or 2200 words, but if it is 2,300 words then 1 mark
will be deducted, and if it is 2,350 words, then 2 marks will be deducted. It is your
responsibility to ensure you stick to stated word-lengths. Footnotes are included in
the word-length total, but not bibliographies or any appendices.
Take-Home Exam
The date of your exam will be published in October. An exam paper will be available
on Learn from 12 noon on the day of your exam. You will have 24 hours to answer
two questions, and upload your work to Learn.
Late Submission: Take-home exams are examinations, not coursework. Exams
which are submitted after the deadline (even if it is only one second after the
deadline) will be considered a non-submission and a mark of 0 will be recorded.

Marking Scheme
All student work is marked in accordance with the Universitys Extended Common
Marking Scheme (CMS1): http://www.ed.ac.uk/studentadministration/exams/regulations/common-marking-scheme
Grade descriptors are in the History of Art Writing Guide on Learn.

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Feedback
Feedback is given on all formative and summative in-course assessment within 15
working days of submission, or in time to be of use in subsequent assessments
within the course, whichever is sooner.
Feedback on your formative assessment will be given to you in the week of your in
class presentation.
Feedback on your essay will be issued by 16 December

Academic Misconduct and Plagiarism

Plagiarism is a serious offence. For detailed advice on how to avoid this, please see
your Programme Handbook.
University guidance: www.ed.ac.uk/schools-departments/academicservices/staff/discipline/plagiarism

Release of Final Marks

All marks are provisional until ratified by the Board of Examiners. Final course marks
are issued via MyEd 1-7 days after the Board in January. A breakdown of final marks
is available from the Course Secretary after the Board.

Style and Referencing Guidance

This information is available in the History of Art Writing Guide on Learn.

Student Feedback
Towards the end of each semester (usually in weeks 10 or 11), you will be asked to
complete an online Course Enhancement Questionnaire for each of your courses.
Course Enhancement Questionnaires will be available for completion through MyEd,
via the Course Enhancement channel in the My Studies tab.

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