This playground study conceptualizes recess as a time and space that belongs to students; their inclusion in this evaluation is a notable difference from other recess/playground research. The goal was to help elementary school students make the changes they felt were needed on their playground. After conducting structured observations and student and recess aide focus groups, a report was presented to all stakeholders, and recess changes were made. We seek to show how the process of being inclusive during the evaluation was not only valuable for determining problem definition and potential interventions, but was also necessary to determine the best methods for solutions, move toward second-order change, and to create a space to facilitate children’s participation and empowerment.

While voices in the comparative urbanism literature call for researchers to approach comparison with more experimental and critical methodologies, there remains no consensus on how to design and realize these studies. This essay examines the implications of comparative urbanism for researching the 'Asian City'. Given the critique of existing modes of comparison embedded in recent calls for a new comparative urbanism, researchers are faced with a number of pressing questions: How do we approach this 'regional' topic in a way that both resists categorizing the 'Asian City' as an exotic 'other', elevating it onto a mythical pedestal, yet appreciates its differences, localisms and unique 'cosmopolitan vernacular' (Clifford, 1997; Werbner and Modood, 1997)? This essay thus highlights the multiple challenges of applying the comparative lens to the 'Asian City', arguing that broader conceptualizations of the 'Asian City' help to address the dangers in isolating Asian research into its own canon of parochial urban theory and offering a greater diversity of possibilities for justifying case selection in comparative approaches. In doing so, we hope that this essay responds to the comparative turn by illuminating to some extent its inherent complexity and methodological challenges.

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The transformation of Chinese cities has engendered new forms of spatialized urban inequality. Research on these processes of segregation has captured the attention of urban researchers, generating a large and varied body of work. Yet its influence on urban theory remains constrained, reflecting the concern with the parochialism of urban theory. A review of segregation research on Chinese cities presents several intertwined findings: Chinese cities are framed in terms of their difference, mostly in contrast to Euro-American cities. This framing renders findings intelligible for an audience familiar with Chicago, but perhaps not Shenzhen. In translating the findings, the research often resorts to a methodological nationalism, which contextualizes Chinese cities in terms of their "Chinese-ness," a reductionist heuristic that elides the diversity of these cities and construes residential segregation as incommensurate with the experience of cities elsewhere. The effect of this is to limit the potential of this research to contribute to a "more global urban studies," by inscribing a kind of exceptionalism into Chinese cities.

This article develops the concept of proximity as socio-spatial distance by looking at the temporally and spatially condensed events of contemporary art exhibition openings. The article begins by examining some developments in proximity research, the limitations of theorizing the importance of proximity as mere physical nearness, arguing that potentiality renders proximity meaningful. After introducing the art event, we offer a three-pronged approach to proximity by showing the imperatives for being-there, the conditional indeterminacy of potentiality and the politics of proximity. In contrast to much recent research, it is argued that the significance of events is not reducible to evaluated outcomes. Two ethnographic vignettes show the imperatives, indeterminacies and politics in action. We conclude by showing how this conceptualization of proximity has analytic purchase beyond the empirical realm of contemporary art.