Something deeply authentic is happening in Kosovo. It is a quiet change, perhaps so familiar to local residents that it often goes unnoticed. But for anyone who does not live there and walks through the city in the evening, it becomes immediately visible. It is a sign that citizens are caring not only about their own businesses, but also about the overall appearance of public space and the broader visual identity of the city.
By: Lorik Idrizi
This phenomenon is especially noticeable in Prishtina, but also in other cities across Kosovo. Almost every business has strong lighting, LED signs, decorations, or illuminated mascots that, in miniature, recall the imagery of Times Square. Streets that once remained in darkness are now filled with light and energy.
Yet this is not merely visual branding or a marketing strategy. It is also sociological evidence. It shows that citizens are taking responsibility for the state and for shared spaces through aesthetics. They are treating the city as a common home rather than as a temporary place.
In this sense, Kosovo has experienced an urban renaissance that was never officially announced. It did not emerge through large projects or strategic plans, but through an urban intuition expressed in small, everyday actions, inspired in part by the spirit of cities like London or New York. Businesses are thinking beyond the threshold of their shops, contributing to the look and atmosphere of entire neighborhoods.
Aesthetics, therefore, is transforming into a form of citizenship. It reflects a sense of cultural and social belonging, a stronger bond between people and their city. And it is precisely this sense of belonging that gives life to an urban space. In some cities in North Macedonia, the absence of such visual care often creates a feeling of coldness and social distance, a kind of urban lethargy.