Entering the Fifth Dimension: modular modernities, psychedelic sensibilities, and the architectures of lived experience

In this paper, we elaborate on the Fifth Dimension, an extraordinary, largely overlooked architectural example of 1960s psychedelia that was installed in a small Scottish resort town. Made up of 17 domed chambers, each designed to stimulate psychedelic sensory experiences for its intrepid visitors, the Fifth Dimension was the creation of London-based environmental artist Keith Albarn using his experimental “Ekistikit” modular building system. We argue that the qualities and impacts of this highly inventive, utopian “fun palace” interrogate stereotypical depictions of countercultural, psychedelic creativities. We discuss how they also intersect with current geographical scholarship concerned with sensation, play, and the built environment. Two key elements of the Fifth Dimension are examined. First, building on critical geographies of architecture, we focus on Albarn's innovative system to exemplify how pioneers of environmental design used advanced modular technologies to radically re-configure the possibilities of dwelling and working in flexible building structures. Second, drawing on aesthetic theories of the sensory, we demonstrate how the structure was designed to stimulate transformative psychedelic sensibilities as a novel form of disruptive politics to induce critical dispositions towards the built environment. Our argument is underpinned by the call for a recuperation of sensational and affective experience in the design and inhabitation of built environments. We contend that this bears particular significance for an emergent geography of play and enchantment

Fairy tale tourism: the architectural projection mapping of magically real and irreal festival lightscapes

This paper explores how established light festivals such as the Fête des Lumières in Lyon and Lumiere in Durham were first conceived by Robert-Houdin as illusory illuminations in the Loire in the 1950s. The research investigates the concept of spectacles as inversions of reality; re-situating light works within authenticity theory by exploring their manipulation of magical reality and irreality. The research uses the authors’ experience of event design to assess different interactions of light with the tri-dimensional architectural canvas, suggesting three classifications of animated projection mapping events: architecturally passive, architecturally physically active and architecturally metaphysically active. Each category has implications for how spectators perceive these installations. Architecturally passive events may use fairy tale content, evoking atavistic and affective responses, the ‘skinning’ of buildings with magical reality is designed to evoke perceptual duality, and the wobbling unfolding of irreality may ultimately create a state of ‘illuminated flow.

Paris Offscreen: Chinese Tourists in Cinematic Paris

This article examines from a European-Asian perspective the relationship between media representations and the tourist’s imagination. We use the case of Chinese tourists in Paris to investigate how these non-European tourists imagine Europe, and how these imaginations are being realized, challenged, and modified during concrete tourist experiences. Drawing on semi-structured interviews with tourists and field observations, this paper shows how the Chinese tourist imagination of Europe is strongly influenced by popular representations from the media. More in particular, the Chinese tourist experience of Paris as it turns out is characterised by an on-going negotiation between media-inspired fantasies and personal experiences of the ‘real’ Paris. As a result of this, the way the Chinese imagined Europe before their visitis reinforced, but also challenged. Chinese tourists tend to develop a hybrid perspective: they learn to re-appreciate Paris in its complexity, while at the same time re-constituting their own cultural identity vis-à-vis the European Other

Performing Place: A Rhythmanalysis of the City of London

Through its focus on the City of London as a particular work sector and setting, this paper emphasizes the symbolic and material significance of place to understanding the lived experiences of power relations within organizational life. The socio-cultural and material aspects of the City are explored through an analysis of the rhythms of place, as well through interview data. Using a methodological approach based on Lefebvre’s Rhythmanalysis in order to develop an embodied, immersive sense of how the City is experienced as a workplace, the paper makes a methodological, empirical and theoretical contribution to an understanding of the way in which rhythms shape how place is performed. Using rhythmanalysis as a method, the paper shows the relationship between rhythms and the performances of place, foregrounding a subjective, embodied and experiential way of researching the places and spaces of organizing

Tourism and transformation: negotiating metaphors, experiencing change

WOS:000338007000001 (Nº de Acesso Web of Science)The article introduces this special issue on tourism and transformation. After offering a brief review of the place and significance of ‘transformation’ in social sciences studies of tourism – from ‘impact studies’ to ethnographies of tourists and, more recently, ‘tourist media studies’ – we propose to take one step further and focus our attention on the performativity and reflexivity of ‘transformation’. Our main argument is that much may be gained analytically by considering how notions and experiences of transformation are addressed, negotiated and purposefully deployed in tourism contexts. We conclude with an outline of each of the contributions to this special issue, stressing that the collection re-opens the issue of transformation in tourism and provides new insights into how experiences-turned metaphors and metaphors-turnedexperiences influence both the travel experience and the development of theory

Crafting place: Women’s everyday creativity in placemaking processes

Amid a resurgence of domestic craft, this article contends that everyday creative practices of women are part of placemaking processes in the creative city. Specifically, the research focuses on Liverpool in the Northwest of England, the so-called (and self-proclaimed) ‘centre of the creative universe’. This article utilized in-depth semi-structured interviews with members of knitting groups and the city centre Women’s Institute to explore how women use craft practice to create a sense of self and attachment to place. The idea of women gathering to craft is enduring, and is examined here to understand affective labour and the role that creativity plays in the urban experience of women. It is argued that the groups demonstrate a lack of engagement with the wider market and official placemaking processes, but instead demonstrate an element of self-valorization. The article challenges thinking around culture-led placemaking in cities like Liverpool, where discourses of creativity have been used as a driver for regeneration by shifting the emphasis onto seemingly banal settings on the edges of the so-called creative city. While urban placemakers have been more recently concerned with developing hubs of creative industries, the role of these groups that are not producing a profitable ‘product’ should not be underestimated or exploited

Constructing Memories of Holmfirth through 'Last of the Summer Wine'

Last of the Summer Wine (BBC, 1973-2010) was filmed in Holmfirth, West Yorkshire, UK for 37 years. Its presence in the town has affected collective memories of the space and place of the region. In examining Summer Wine’s continued presence in Holmfirth even after it has ceased production, we investigate how the series as a text, institution and brand serves to spatially inform Holmfirth and construct, embed and inform cultural memory