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Why leave the City on holidays? I dag er shopping blevet en livsstil, vi forbruger på livet løs, også i det offentlige rum, dette betyder at byen i dag er blevet ’Disneyficeret’ eller ’Tivolificeret’. Målet med denne udgivelse er at indkredse konsekvenserne af denne udvikling, at belyse samspillet mellem såkaldte ”funscapes” og ”fear culture” og at redegøre for betydningen af nye koncepter og fænomener så som ’event-kultur’, ’urban scenografi’, ’oplevelsesøkonomi’, ’by-branding’ og ’kulturel planlægning’. Bogen, som udgives på engelsk, er redigeret af Gitte Marling og Martin Zerlang. Fun City Red: Gitte Marling & Martin Zerlang 280 sider, 24 x 17 cm, paperback, illustreret ISBN: 978 87 7407 375 8 Pris kr. 280,- Part 4 Funscapes Funscapes Martin Zerlang 216 217 T he city has been defined as “a world of strangers” (Lyn Lofland), and the accidental encounter has been described as the essential challenge of urban life (Sharon Zukin). The unplanned encounters with strangers may generate fear as well as fun, and managing these feelings is an essential part of urban living. Indeed, the concept of urbanity involves the ability to adjust to strangers. In giving shape to the city the architect and the city planner must inevitably relate to a whole register of feelings, ranging from fear to fun. At one end of modern urban development the so-called “gated communities” and other “scanscapes” openly represent the fear of the stranger. At the other end of this development “funscapes” are manifestations of a desire for the strange, the bizarre, and the unexpected. On a more general level, however, fear and fun may be seen as two sides of the same coin, fun being a way of reducing fear. Thus, the “funscapes” of a city which have learnt their lessons from such examples as Disneyland (Holck) and Las Vegas (Robert Venturi et al.), may be interpreted as an expression of a growing need to subdue the fears of everyday life in the city of today. Since the 18th century, London has been nicknamed “the Great Wen”, an indication of anxieties caused by the monstrosity of this big city, but since 1995 the “logo” of London has been the world’s largest Ferris wheel, and from their transparent boxes housed in this perfect circle visitors take pleasure in panoramic views over the Thames – comforting views where the greatest contrasts stand side by side in friendly juxtaposition and where the most monumental objects are reduced to small, toy-like objects. The following pages are dedicated to a historical and cultural analysis of these “funscapes”. difference, a unique ‘spirit of place’, a special atmosphere and a particular aura. It is something that sets Copenhagen or Malmö apart from other competitors. The logic of branding brought with it a focus on comparison, benchmarking and taking the pulse: how are we doing? In order to become established as an interesting actor or an investment object in a rapidly changing world, impression management was an important tool. The concept of the catwalk economy (see the discussion in Löfgren & Willim 2005) focuses on this need to communicate an appetizing image of a fast, pulsating and creative city with an important stake in the future. As one proponent of place-marketing aptly puts it: Places are indeed products, whose identities and values must be designed in a value adding process and marketed on a European and global market. The winning places that exist on a global market will come to be all the more important. (Quoted in Sahlberg 1998:156) During the millennium years we were able to observe how certain catwalk technologies were developed. One was listing and ranking and an obsession with comparative benchmarking. How are we doing as a city destination in comparison with Barcelona or Boston? Where are the hot spots, the creative seedbeds of the new economy? Who are the hot actors and what do the cool scenes look like? All kinds of lists and mappings were produced: lists of attractive cities, promising investment futures, great shopping or the best night life. Place marketeers and destination developers scanned the various list-making media; from the trendy design magazine Wallpaper to investment guides. Listing and rating brought its own logic to the field. It often called for simplification and trivialization. You had to itemize and delineate 82 83 “factors” in order to make comparative lists – rather as the tourist industry of the nineteenth century developed the system of star ratings. Concepts like cool and hot became popular. If it was good to be cool or hot, why not try to be both? “Where business is hot and life is cool...“, an advertisement for the Öresund Region ran in 2000, while in 2001 Budapest was labelled by a journalist as “the hottest cool spot in Europe right now.” What did it take for a region, a city, a night life or a hotel to look hot? How could you work yourself to the top of the lists, and how long could you stay there? The dramaturgy of list-making called for a constant change in hierarchies, complete with newcomers and fallers-behind. Again, there was a process of standardization. In competing to become a hot spot, cities, regions and corporations copied the successful. They wanted to package a unique local identity not only through a global cultural grammar, but also by constantly profiling themselves against others, as Barbara Czarniawska points out in her studies of Rome, Stockholm and Warsaw: City councilors and officials in Rome found a way to solve the paradox of identity by an image that simultaneously stresses uniqueness and points out similarities: Rome is comparable to Athens because of its cultural capital, but Athens is a city with all problems, no solutions. London is the model of privatized municipal services but they do not have the Roman tradition (or rather, all their truly ancient tradition is Roman). Berlin is a model of a traffic system with the railway as its center but German cities are over-organized while Rome’s charm lies partly in its anarchy etc. (Czarniewska 2000:212) Performance became an important catwalk technology. You had to look good. Such aesthetics are to be found in many arenas, perhaps above all in the fast-growing industry of event-making. New standards and expectations were thus developed. In short, ranking lists and catwalking performances thrived in the absence of well-established measurements of success. It was also important that a new reputation could be translated into terms that made sense on the global market and could be read and evaluated by investors elsewhere. Genres of city catwalking were invented or recy-
ARKFOKUS 3. årgang, oktober 2007 Udgiver ARKITEKTFORBUNDET ved direktør Arne Ennegaard Jørgensen Strandgade 27A 1401 København K T (+45) 32 83 69 90 E sekr@arkitektforbundet.dk www.arkitektforbundet.dk Redaktion Ansv. redaktør: Anne-Marie Gregersen Redaktionssekretær: Cornelius Colding Redaktion: Stine Munch-Nielsen og Claus Padkær, informationskonsulenter i ARKITEKTFORBUNDET. E amg@arkitektforbundet.dk Grafiker Jesper Lind Jans Inspirationsgruppe Anders Bak, Axel Bendtsen, Bjarne Rieckmann, Lars Poulsen, Naja McNair, Pernille Herzberg, Rikke Kirstine Larsen, Rikke Stenbro og Sidse Grangaard Forsiden Foto: Ulrik Jantzen, Das Büro Abonnementsservice Oxygen Media Service Postboks 865 2400 København NV T (+45) 70 25 12 22, kl. 9-16 E arkfokus@oxygen.dk Annoncer Steffen Petersen, E sp@arkfo.dk Per Christensen, E pc@arkfo.dk Lone Andersen, E la@arkfo.dk Arkitektens Folag, T 32 83 69 70 Tryk PJ Schmidt Grafisk Produktion ISSN: 1604-8164 Medlem af Dansk Fagpresseforening Oplag: 5000 Udkommer med 10 numre årligt Abonnement: 490 kr. årligt Arkitektens Forlag Ovengaden oven Vandet 10, 1. 1415 København K T 32 83 69 70 www.arkfo.dk Artiklerne i ARKFOKUS står for den enkelte forfatters egen regning og er ikke nødvendigvis udtryk for bladets eller ARKITEKTFORBUNDETs holdning. INDHOLD: 2 KÆMPEMØLLERNE KOMMER! Arkklummen: Hvor er arkitekterne henne i debatten om de gigantiske vindmøller, der invaderer den danske natur? 4 VI ELSKER VORES PARCELHUSE – forstæderne, parcelhusene og gør-det-selv-drømmene. 10 FØR RENOVERINGEN To fotografer på opdagelse i Tuborgs gamle bryghus i Hellerup – før ombygning til moderne firmadomicil. 12 DEN VISUELLE INSTRUKTØR Rundtur i DR Byen med arkitekt Kim Fridbjørg. 16 NEWS 18 MOD EN VERDEN AF SYSTEMARKITEKTER Debatindlæg af lektor ph.d., arkitekt Thomas Bo Jensen fra Kunstakademiets Arkitektskole. 20 LANDSMØDET 2007 Reportage fra ARKITEKTFORBUNDETs Landsmøde på IT-Universitetet i Ørestad Nord. 24 ARKITEKTFORBUNDET GÅR TIL VALG 20 kandidater opstiller til ARKITEKTFORBUNDETs valg til Repræsentantskabet. Læs deres programerklæringer, inden du sætter krydset. 32 VERDENSBLIK Venetianske drømmespil. 1
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