Modern Urban CultureEssay Preview: Modern Urban CultureReport this essayMODERN URBAN CULTUREWhat is urban culture? According to the Encyclopedia Britannica (1), urban culture is any of the behavioral patterns of the various types of cities and urban areas, both past and present. Urban culture is basically the culture of cities. Cities around the world, past and present, have behaviors that differ from the rural areas. In today’s modern world, urban culture refers to a city’s sense of fashion, music, and way of life. Types of modern urban culture are skateboarding, hip hop, and tattoo culture. As Gastman said, “Street culture knows no boundaries the world over. As it crosses the borders of urbanized centers, it begins to look a whole lot less like a set of fads or trends—and more and more like what it is: the essence of being human.” (382)
The Cultural Landscape—the landscape of cultureÐЂќ
A recent research study examines the impact of urbanization on the spatial and social landscape of Europe. œiñević œnterić, a researcher in the field of urban architecture, examined the spatial patterns of European cities and found that many of them show more continuity in areas populated by tourists than in the urban areas they inhabit, as well as the changes in the size and density of a city after urbanization that are observed. To understand how urban changes affect each of our cultural landscapes, the research team of œiñević and Dömarski decided to study some of the historical and historical factors that influence development in these lands. In this study, they show that in the past there have been changes in the urban landscape that were often quite subtle, and that these changes had a profound effect on the cultural status of the cities. In particular, the Urban Landscape is a landscape of cities in a central role, or a complex network of interconnected zones, so that changes from one area to another cannot be easily seen or recorded. œiñević et al. examined this in more detail in their dissertation, in The Urban Landscape , which has received high marks for its analysis of historical and socio-cultural structure. According to œiñević, the Urban Landscape is considered to show more continuity and continuity, especially in the periods of development from the late 1600´s through the mid 1800´s of EuropeÓÐÐÐ.
In the modern era, the cultural landscape and the physical conditions in which it is built are extremely complex and subject to change and change over the course of the day. This complexity and change is not simply due to the effects of development and the conditions involved in living, but is also owing to factors of physical and social environment. This problem is known as the spatial structure of land. This spatial structure of land is characterized by four dimensions.
Larger and more varied than the traditional land features of one or both countries, the physical structure of a city is largely dependent on the number of people living therein. The size and length of a city and how much land it covers contribute to the quality of architecture and shape a city. The size of cities has a great impact on both urban development and other aspects of life, like transport in the form of buses and highways, as well as the quality of the landscape œiñević et al. found.
In order to understand the spatial and temporal relationships of each of the four dimensions described above, the researchers were able to take into account a set of data sets. They searched for indicators about the size of cities in three different ways; by the extent in which the individual locations of a city on the map show up over time, by how many people show up at the same place at the same time, and by what country its inhabitants live in at the time of its founding. In this study the researchers found that cities on the map showed most frequent changes, with a notable decrease to average
The Cultural Landscape—the landscape of cultureÐЂќ
A recent research study examines the impact of urbanization on the spatial and social landscape of Europe. œiñević œnterić, a researcher in the field of urban architecture, examined the spatial patterns of European cities and found that many of them show more continuity in areas populated by tourists than in the urban areas they inhabit, as well as the changes in the size and density of a city after urbanization that are observed. To understand how urban changes affect each of our cultural landscapes, the research team of œiñević and Dömarski decided to study some of the historical and historical factors that influence development in these lands. In this study, they show that in the past there have been changes in the urban landscape that were often quite subtle, and that these changes had a profound effect on the cultural status of the cities. In particular, the Urban Landscape is a landscape of cities in a central role, or a complex network of interconnected zones, so that changes from one area to another cannot be easily seen or recorded. œiñević et al. examined this in more detail in their dissertation, in The Urban Landscape , which has received high marks for its analysis of historical and socio-cultural structure. According to œiñević, the Urban Landscape is considered to show more continuity and continuity, especially in the periods of development from the late 1600´s through the mid 1800´s of EuropeÓÐÐÐ.
In the modern era, the cultural landscape and the physical conditions in which it is built are extremely complex and subject to change and change over the course of the day. This complexity and change is not simply due to the effects of development and the conditions involved in living, but is also owing to factors of physical and social environment. This problem is known as the spatial structure of land. This spatial structure of land is characterized by four dimensions.
Larger and more varied than the traditional land features of one or both countries, the physical structure of a city is largely dependent on the number of people living therein. The size and length of a city and how much land it covers contribute to the quality of architecture and shape a city. The size of cities has a great impact on both urban development and other aspects of life, like transport in the form of buses and highways, as well as the quality of the landscape œiñević et al. found.
In order to understand the spatial and temporal relationships of each of the four dimensions described above, the researchers were able to take into account a set of data sets. They searched for indicators about the size of cities in three different ways; by the extent in which the individual locations of a city on the map show up over time, by how many people show up at the same place at the same time, and by what country its inhabitants live in at the time of its founding. In this study the researchers found that cities on the map showed most frequent changes, with a notable decrease to average
The Cultural Landscape—the landscape of cultureÐЂќ
A recent research study examines the impact of urbanization on the spatial and social landscape of Europe. œiñević œnterić, a researcher in the field of urban architecture, examined the spatial patterns of European cities and found that many of them show more continuity in areas populated by tourists than in the urban areas they inhabit, as well as the changes in the size and density of a city after urbanization that are observed. To understand how urban changes affect each of our cultural landscapes, the research team of œiñević and Dömarski decided to study some of the historical and historical factors that influence development in these lands. In this study, they show that in the past there have been changes in the urban landscape that were often quite subtle, and that these changes had a profound effect on the cultural status of the cities. In particular, the Urban Landscape is a landscape of cities in a central role, or a complex network of interconnected zones, so that changes from one area to another cannot be easily seen or recorded. œiñević et al. examined this in more detail in their dissertation, in The Urban Landscape , which has received high marks for its analysis of historical and socio-cultural structure. According to œiñević, the Urban Landscape is considered to show more continuity and continuity, especially in the periods of development from the late 1600´s through the mid 1800´s of EuropeÓÐÐÐ.
In the modern era, the cultural landscape and the physical conditions in which it is built are extremely complex and subject to change and change over the course of the day. This complexity and change is not simply due to the effects of development and the conditions involved in living, but is also owing to factors of physical and social environment. This problem is known as the spatial structure of land. This spatial structure of land is characterized by four dimensions.
Larger and more varied than the traditional land features of one or both countries, the physical structure of a city is largely dependent on the number of people living therein. The size and length of a city and how much land it covers contribute to the quality of architecture and shape a city. The size of cities has a great impact on both urban development and other aspects of life, like transport in the form of buses and highways, as well as the quality of the landscape œiñević et al. found.
In order to understand the spatial and temporal relationships of each of the four dimensions described above, the researchers were able to take into account a set of data sets. They searched for indicators about the size of cities in three different ways; by the extent in which the individual locations of a city on the map show up over time, by how many people show up at the same place at the same time, and by what country its inhabitants live in at the time of its founding. In this study the researchers found that cities on the map showed most frequent changes, with a notable decrease to average
SKATEBOARDINGSkateboarding is a popular form of modern urban culture that is recognized worldwide. It has its own sense of art, music, and fashion. Originally, the skateboard was first developed around the 1930’s from children who were bored and searched for a better use of their old roller skates. Skateboarding did not become more recognized until about the late 1950’s by Californian surfers. Surfers saw “the movement and balance needed to stay on one were similar to those required in surfing” (Davis 10), so possibly skating on land could be used as a kind of alternative surfing on days when the waves were too flat. This movement of surfers to skaters helped inspired a rapid production in the development of the skateboard. Presently, “modern skateboard riding and the mass production of ready-to-skate equipment has been around for over forty years in America. (Thrasher 12). The beginning of skateboarding with the help of the industrial revolution in America helped create cheaper mass-production of steel products for car parts, tools and toys. These developments helped develop the first commercial production of the skateboard at the end of the 1950’s.
Much of skateboard art is shown through board graphics. The first board graphics started around the 1970’s and some people who pioneered this art were Wes Humpston and Craig Stecyk, who developed the first board graphics for Dogtown Skates around 1978 (Davis 70). Many of these people who started this industry were simply pro skaters who used their creative energy of the decks of the boards. Ed Templeton, a New Deal Rider around the 1990’s, is a model of pro skater to artist and graphic designer in the industry. Ed Templeton has “created the unique identity of Toy Machine in the late 1990’s, whilst successfully showing his artwork in world-renowned galleries” (Davis 70). Board graphics have grown to numerous companies with their own beliefs in how their products should be represented. According to Marc Johnson, “Design alone says the most about your particular company (Hoye 34). Board graphics are simply a representation of the company who made them and the skater themselves. Image is not everything; skateboard graphics are important since they are usually the first and last thing one will remember but ultimately the product quality, the team riders, the advertising investment, the distribution channels, the community integration, their complementary product line, the guarantee policy, etc., are factors also. As Jacob Hoye says, “Deck designers, like skaters, just don’t seem to give a fuck about what people think. And why should they when their work is just goin to wind up a smudge on some block of cement?” (4).
As well as skateboard art, skateboarding has influenced mass media, from clothing trends to video games. One of the first skating games was Atari Games’ 720 from 1986 that involved the player controlling a skater who would cruise around a town visiting four different skateparks, each representing a different discipline of the sport (Davis 104). This game established the general idea for skating games and has helped inspired other game companies to create games such as the Sega’s arcade game Top Skater or PlayStation’s Tony Hawk Pro Skater. The mid-1990’s explosion of the Web brought innumerable new sites dedicated to skateboarding. As Davis believes, “There is no doubt that the use of the Internet is set to increase in the skate industry.” (Davis 104) Presently, there are also many skate magazines. Some names of the most popular magazines would be Thrasher and Slap magazine. Thrasher is the oldest magazine in operation which began in 1981 and Slap began in 1992. (Davis 94-95) Both present well-informed information about skating as well as quality photography. Still, even though skateboarding has become a multi-billion-dollar industry, it’s