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首页> 外文期刊>Journal of Cultural Geography >Nineteenth-century planned industrial communities and the role of aesthetics in spatial practices: the visual ideologies of Pullman and Port Sunlight
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Nineteenth-century planned industrial communities and the role of aesthetics in spatial practices: the visual ideologies of Pullman and Port Sunlight

机译：十九世纪规划的工业社区和美学在空间实践中的作用：铂尔曼和阳光港口的视觉意识形态

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摘要

In the 1880s British and American planned industrial communities revealed a distinct shift in spatial practices as two discrete architecture and landscape architectural aesthetics were applied to community design: Beaux Arts, and Arts and Crafts. Two of the most extensive planned industrial communities during this decade received aesthetic attention: Pullman, Illinois near Chicago (1880), established by George Pullman, and Port Sunlight, near Liverpool (1888), established by William Lever. Both Pullman and Lever believed that by applying a distinctive aesthetic they could establish a cohesive visual ideology for social control. Lever and Pullman believed that by creating “beautiful” spaces, this would encourage and/or constrain worker attitudes and behaviors, what Henri Lefebvre calls “means of control” (1991, p 26). In addition, both Pullman and Port Sunlight became central to establishing and maintaining each company's brand identity. This paper explores the visual ideologies these two industrialists used to produce a distinctive sense of community while also revealing the inherent tensions and limitations of those aesthetics. Not only do Pullman and Port Sunlight reflect an important shift in spatial practices during the 1880s, their architects and landscape architects became influential leaders in the visual ideologies of the City Beautiful and Garden City planning movements.View full textDownload full textKeywordsCity Beautiful, company town, landscape aesthetics, visual ideology, Port Sunlight, PullmanRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/08873631.2012.680816
机译：在1880年代，英美两国计划中的工业社区揭示出空间实践的显着变化，因为两种离散的建筑和景观建筑美学被应用于社区设计：美术，工艺美术。在这十年中，规划中最广泛的两个工业社区中有两个受到美学关注：乔治·普尔曼（George Pullman）在伊利诺伊州芝加哥的铂尔曼（1880年）和威廉·利弗（William Lever）在利物浦附近的阳光港（1888）。 Pullman和Lever都认为，通过运用独特的审美观，他们可以建立凝聚力的视觉意识形态，以进行社会控制。 Lever和Pullman认为，通过创造“美丽”的空间，这将鼓励和/或限制工人的态度和行为，这就是Henri Lefebvre所说的“控制手段”（1991，第26页）。此外，Pullman和Port Sunlight都成为建立和维护两家公司品牌形象的中心。本文探讨了这两个工业家用来产生独特社区意识的视觉意识形态，同时还揭示了这些美学的内在张力和局限性。铂尔曼和阳光港口不仅反映了1880年代空间实践的重要转变，他们的建筑师和景观设计师还成为城市美丽和花园城市规划运动的视觉意识形态方面的有影响力的领导者。查看全文下载全文关键字景观美学，视觉意识形态，阳光港，铂尔曼酒店相关var addthis_config = {ui_cobrand：“泰勒和弗朗西斯在线”，service_compact：“ citeulike，netvibes，twitter，technorati，delicious，linkedin，facebook，stumbleupon，digg，google，更多”，pubid ：“ ra-4dff56cd6bb1830b”};添加到候选列表链接永久链接http://dx.doi.org/10.1080/08873631.2012.680816

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