This paper explores the entanglements between urban and domestic temporalities in order to understand what it means to live in the city. The “living of time” encompasses the temporalities of urban dwelling at home and in relation to the wider estate, street, neighbourhood, and city and reveals how residents adapt to, negotiate, and at times resist processes of change and continuity at home and in the city.

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This paper is concerned with the affective power of light, darkness, and illumination and their role in exposing and obscuring processes of rapid urban change. Little academic attention has focused on how lighting informs multiple, overlapping, and intersecting urban temporalities and mediates our experience of an ever-changing city. This paper foregrounds a walk through the illuminated city at night as an epistemic opportunity to develop an embodied account of material and temporal change in ways that disrupt the aesthetic organisation of the sensible world at night. By detailing the discontinuous experience of walking through differently lit spaces, the paper develops novel ways of conceptualising the experience of urban change that unsettle common understandings of subjectivity, temporality, and the city. The paper draws on a single night's walk from Canning Town to Canary Wharf in east Londonan area that has recently undergone rapid change, including the erection of enclaves of high-rise development. By accentuating the shared experiences of walking with light, we reveal the affective capacities of light and dark to conceal and expose wider material, embodied, and temporal urban changes but also how we might challenge the organisation of the nocturnal field of the sensible.

Artificial lighting has received increased attention from urban scholars and geographers in recent years. It is celebrated for its experimental aesthetics and experiential qualities and critiqued for its adverse effects on biological life and the environment. Yet scholars and practitioners unite in their disapproval of uniform and homogenous lighting that follows from standardised lighting technologies and design principles. Absent from debates in urban scholarship and geography, however, is any serious consideration of how lighting designers respond to such standardised measures and regulations. In this article, I address this lack of academic attention by exploring how designers overturn the restrictive challenges posed by the standards and regulations of the design and planning process. Drawing on interviews with designers involved in the lighting design of a mixed-use redevelopment project in Canning Town, East London, I demonstrate how the interpretation and translation of lighting standards and regulations resist the tendency to predetermine design aesthetics and functions. By drawing attention away from the technical specifications and numerical values that are prescribed in standards and regulations, and towards lighting’s experiential and performative effects, the article argues that lighting designers can play an important role in challenging how standards and regulations are measured, defined and maintained. Calling on urban scholars to play a more prominent role in foregrounding this process of translation, I suggest that standards and regulations can provide frameworks within which luminous differentiation and preservation of darkness can be achieved, playing a potentially crucial role in ensuring a socially and environmentally sustainable transition to energy efficient lighting.

As part of the urban nightscape, illumination of urban environments across Europe has gained significance recently. Altering the aesthetic appearance of material surfaces, urban illuminations transform our sensory every night experiences of space; experiences that, within geography, have not been dealt with in depth. This article undertakes an ethnographic study of the sensory everynight experiences of the changed aesthetics of illuminated spaces in Copenhagen, outlining three arguments. First, illumination functions as a signifier, transforming the experience of space and staging certain performative practices. Second, the illumination of select objects harmonizes connections between subjects and objects, releasing a potential for social contestation over spatial meaning. Third, illumination creates an illusory second reality, promoting alternative opportunities for engaging with the urban fabric. The article concludes that the lived sensory experiences of urban illuminations must be acknowledged in planning and need to be examined further within geographies of nighttime spaces.