This paper addresses how ‘culture’ is or can be present in a city, where culture is understood in a wide sense as cultural activities and output of creative activity as well as partaking in or making use of the same. The main line of argument is that this requires consideration of how to work with configurational analysis, which has implications for a wider set of issues but made apparent in the specific focus.
While this is anchored in empirical analysis, the main point is a theoretical-methodological discussion. In short, the paper proposes a model where culture needs to be understood from four perspectives—to witness, to engage with, to show, and to do—since these are differently related to the built environment in the conditions for how they appear, what effects they might have, and in what ways they are affected by and affect urban environments.
Specifically, the empirical analyses point to how inequalities between areas can be understood. The conditions for making sculptures and how this affects and is affected by its surrounding, simply put, is different from the effects and conditions for the placing of public sculptures, as are their effects on public and private life.
By use of specific and particular examples of activities or outputs, the article will also highlight qualitative aspects that need to be considered in relation to more precisely what kind of ‘culture’ that is intended to be supported, and how this relates to questions of democratic development and social equality.