Contributing to the debate for a democratic articulation of the urban environment, this paper focuses on the reinterpretation of the relation between thinking and perception in Kant's Second Moment of the Analytic of the Beautiful, by Jacques Rancière. Rancière argues that the dissensual operation implied in Kant's definition of the beautiful involves a superimposition that transforms the given form or body to a new one. Social emancipation for Rancière becomes an aesthetic matter, a matter of dismemberment of a body animated by a particular belief. When the loss of destination implicit in aesthetic experience, as explained by Rancière, disrupts the way in which bodies fit their functions in a social order, then a political effect is produced. The aesthetic effect presupposes dis-identification. Within the aesthetic community, political subjectivisation is based on a dis-identification process. Furthermore, reconsideration of modernity for Rancière means going back to Schiller's idea of the aesthetic education of man which originated in Kant's Analytic of the Beautiful. We can argue with reference to an architecture of dissensus that through a process of dislocation, dismemberment and dis-identification, tradition opens up to a constant transformation to something new, involved in a never-ending play between totally different layers that make up everyday experience.