In the increasingly popular sport of parkour, athletes run, jump, climb, flip, and vault through city streetscapes. In Parkour and the City, Jeffrey L. Kidder examines the ways in which this internet-friendly twenty-first-century sport involves a creative appropriation of urban spaces as well as a method of everyday risk-taking by a youth culture that valorizes individuals who successfully manage danger.

In the increasingly popular sport of parkour, athletes run, jump, climb, flip, and vault through city streetscapes, resembling urban gymnasts to passersby and awestruck spectators. In Parkour and the City, cultural sociologist Jeffrey L. Kidder examines the ways in which this sport involves a creative appropriation of urban spaces as well as a method of everyday risk-taking by a youth culture that valorizes individuals who successfully manage danger. Parkour’s modern development has been tied closely to the growth of the internet. The sport is inevitably a YouTube phenomenon, making it exemplary of new forms of globalized communication. Parkour’s dangerous stunts resonate, too, Kidder contends, with a neoliberal ideology that is ambivalent about risk. Moreover, as a male-dominated sport, parkour, with its glorification of strength and daring, reflects contemporary Western notions of masculinity. At the same time, Kidder writes, most athletes (known as “traceurs” or “freerunners”) reject a “daredevil” label, preferring a deliberate, reasoned hedging of bets with their own safety—rather than a “pushing the edge” ethos normally associated with extreme sports.

The city seen from a unique point of view: those who want to break in and loot its treasures

Parkour, the art of displacement, or freerunning--whatever the name, this new discipline born in the Paris suburbs is rapidly being adopted by people throughout the world. Not satisfied to suffer through urban life, these athletic artists or artistic athletes want to thrive in it, all the while earning dignity by daringly reappropriating three fundamental motor skills: running, jumping, and climbing. Vincent Thibault explores the philosophical and spiritual aspects of the art of movement and offers ideas on health, sports, urban living, and the relationship between the body and the environment. Reflecting on the culture of effort, he also avoids the misguided notion that depicts parkour as just another of those elitist extreme sports, instead providing a thoughtful, lyrical adventure into martial arts and chivalry in an urban setting.

City of Play shows how play is built into the very fabric of the modern city. From playgrounds to theme parks, skittle alleys to swimming pools, to the countless uncontrolled spaces which the urban habitat affords – play is by no means just a childhood affair. A myriad essentially unproductive playful pursuits have, through time, modelled the modern city and landscape. Architect and scholar Rodrigo Pérez de Arce's erudite, original, and often surprising study explores a curiously neglected dimension of architectural design and practice: ludic space. It is an architectural history of the playground – from the hippodrome to the Situationist city – of space released from productive ends in the pursuit of leisure. But this is more than just a book about how architecture has incorporated play into its spaces and structures, it is a history of the modern city itself. The ludic imagination impregnated modernist ideals, and what begins with the playground ends with a re-consideration of the whole sweep of the modern movement through the filter of leisure and play. Because play is such a basic or fundamental human experience, the book re-grounds the architect's concerns with those of non-architects – and not only those of adults but also of children. It seeks to give everyone – architects and other ordinary city-dwellers alike – a better understanding about what is at stake in the making of the public spaces of our cities.