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Melhuish, Clare; Degen, Monica and Rose, Gillian
(2016).
DOI: https://doi.org/10.1111/ciso.12080
Abstract
This paper explores how Computer Generated Images (CGIs) have enabled the visualisation and negotiation of a new urban imaginary in the production of a large- scale urban development project in Doha, Qatar. CGIs were central not only to the marketing but also the design of Msheireb Downtown. Our study of their production and circulation across a transnational architectural and construction team reveals how their digital characteristics allowed for the development of a negotiated, hybridised urban imaginary, within the context of a re-imaging and re-positioning of cities in a shifting global order. We suggest that CGIs enabled the co-production of a postcolonial urban aesthetic, disrupting the historical Orientalist gaze on the Gulf region, in three ways. Firstly, they circulate through a global network of actors negotiating diverse forms of knowledge from different contexts; secondly, they are composed from a mix of inter- referenced cultural sources and indicators visualising hybrid identities; and thirdly, they evoke a particular urban atmosphere which is both place- and culture-specific, and cosmopolitan. The study emphasises the importance of research into the technical and aesthetic production processes which generate new urban spaces in the context of global market-led growth; and, by considering the circulation of CGIs between sites, contributes to the development of “a more properly postcolonial studies” (Robinson 2011, 17). [Urban Development; Digital Visualisation; Doha, Postcolonial Studies]
CORE (COnnecting REpositories)
CORE (COnnecting REpositories)
