Abstract
The three-dimensional shapes of contemporary American urban commerce, usually described as symptoms of cultural anarchy, are the products of coherent and comprehensible historical and economic patterns. Architectural form and the syntax of present-day commercial competition can be traced to the elaboration and evolution of late-nineteenth century World's Fair amusement zones. Criticisms of urban commercial environments based on aesthetic judgements have served as ideological programs for the resolution of class tensions over control of urban space. Aesthetic ideologies are perpetuated by professionals. In the present day they are the province of academics and policy-makers who function as disseminators of official culture.
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