- CR POLIS-ART, CITY, SOCIETY. Universitat de Barcelona. Pau Gargallo 4 08028 Barcelona
- +34934034033
Antoni Remesar
Universitat de Barcelona, POLIS Research Centre, Faculty Member
- Public Art, Public Participation In Governance, Urban Regeneration, Art Theory, Community Participation, Community Engagement & Participation, and 12 moreUrban Design (Urban Studies), City planning, Polis, Urban Planning, Urban Studies, Architectural History, European Union, Urban Design, Architecture, Architecture and Public Spaces, Public Space, and Art Historyedit
- Former Graduate Dean at the Faculty of Fine Arts, University of Barcelona (2008-2016) Director of the POLIS Research ... moreFormer Graduate Dean at the Faculty of Fine Arts, University of Barcelona (2008-2016)
Director of the POLIS Research Centre- GRC Art, City, Society
Director of M.A. Urban Design (University of Barcelona)
Director of the Ph.Programme Public Space and Urban Regeneration (University of Barcelona)
Associated Researcher at the Instituto de História da Arte (Universidade Nova de Lisboa)edit
exts: Teresa Anguera, Francesc Aragall, Ricard Blasco, Antoni Choy, Jaume Guardia, Joan Guardia, Lupicinio Iniguez, Juli Llueca, Jordi Mana, Nuria Miro, Montserrat Morales, Emilia Moreno, Josep Muntanola, Enric Pol, Antoni remesar, Joan... more
exts: Teresa Anguera, Francesc Aragall, Ricard Blasco, Antoni Choy, Jaume Guardia, Joan Guardia, Lupicinio Iniguez, Juli Llueca, Jordi Mana, Nuria Miro, Montserrat Morales, Emilia Moreno, Josep Muntanola, Enric Pol, Antoni remesar, Joan Rieradevall, Marta Roca, Angels Rovira,Josep maria Serena, Sergi Valera, Felix Vazquez, Tomeu Vidal. / Compiladors: Enric Pol i Tomeu Vidal
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Información del libro Tres ensayos sobre comunicación: de la naturaleza a la cultura.
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Tras el desarrollo en 2011 del Mural de la Memoria en el Baro de Viver (Barcelona), el barrio adyacente de Bon Pastor, mostro interes en contar con un elemento simbolico y artistico de caracteristicas similares. Sin embargo, desde el... more
Tras el desarrollo en 2011 del Mural de la Memoria en el Baro de Viver (Barcelona), el barrio adyacente de Bon Pastor, mostro interes en contar con un elemento simbolico y artistico de caracteristicas similares. Sin embargo, desde el principio, los vecinos de Bon Pastor expresaron la idea de que la escritura de sus recuerdos no deberia realizarse sobre un soporte lineal, sino que deberia ser distribuida por el territorio. El equipo de investigacion del Centro de Investigacion Polis inicio un proceso participativo (no concluido en la actualidad) en el marco de acuerdos de cooperacion entre el Centro, la Asociacion de Vecinos y las autoridades locales del distrito de Sant Andreu. Al mismo tiempo, el tema de este “sistema de memoria y espacio” se convirtio en un tema a desarrollar por uno de los equipos interdisciplinarios e internacionales de estudiantes del Master en Diseno Urbano: Arte, Ciudad, Sociedad de la Universitat de Barcelona. Este articulo presenta el progreso realizado.
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Within these fragilities, spatial fragmentation is, in today’s cities, one of the main problems involving serious consequences for urban cohesion. Once that it has direct implications on (1) urban mobility, restricting the way how people... more
Within these fragilities, spatial fragmentation is, in today’s cities, one of the main problems involving serious consequences for urban cohesion. Once that it has direct implications on (1) urban mobility, restricting the way how people move in the cities and limiting the access to the uses / activities offered, (2) on natural structures, implying irreversible damages and (3) on the social and economical urban life, having direct implications in the implementation of services for people (hospitals, schools, etc.).
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Entre los anos 1977 y 2013, las estrategias de gestion del patrimonio y el arte publico en la ciudad de Barcelona (Espana) en relacion a la memoria de la IIa Republica (1931-1939), la Guerra Civil (1936-1939) y el Franquismo (1939-1975)... more
Entre los anos 1977 y 2013, las estrategias de gestion del patrimonio y el arte publico en la ciudad de Barcelona (Espana) en relacion a la memoria de la IIa Republica (1931-1939), la Guerra Civil (1936-1939) y el Franquismo (1939-1975) pasan por diversas fases de evolucion. La complejidad politica y social asociada a estos periodos se refleja en las continuidades y discontinuidades de las distintas lineas de intervencion llevadas a cabo desde el Ayuntamiento de la ciudad. Estas lineas se articulan alrededor de tres grandes ejes: la recuperacion de monumentos eliminados y/o modificados durante el franquismo; la eliminacion y/o substitucion de simbolos y monumentos franquistas; y el homenaje desde la democracia. Destaca la politica desarrollada en la ultima decada, -la llamada decada de la memoria historica-, cuando el consistorio opta por la eliminacion total de monumentos franquistas que aun perduraban en el espacio publico, aunque sin simbologia fascista. A este ejercicio de supre...
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La participación ciudadana en procesos de transformación del espacio público se incluye cada vez con más fuerza en la gestión de las ciudades, como forma de construcción de urbes y ciudadanía con consecuencias positivas en varios niveles.... more
La participación ciudadana en procesos de transformación del espacio público se incluye cada vez con más fuerza en la gestión de las ciudades, como forma de construcción de urbes y ciudadanía con consecuencias positivas en varios niveles. Pero la complejidad de este tipo de experiencias -donde ciudadanía, Administración y profesionales implicados deben trabajar a favor de una mejora substancial- retrasa y a veces paraliza este tipo de procesos, que requieren un cambio de cultura profesional y cívica. En este artículo no se plantean modelos ni fórmulas, sino que se reflexiona sobre seis aspectos transversales a este tipo de experiencias participativas: la ciudadanía como protagonista; la participación como oportunidad de adaptación de la urbe al ciudadano; la emergencia de la creatividad en los procesos; la relación entre participación y representación-generación de identidad; el concepto de apropiación del espacio público, y finalmente la necesidad de permeabilidad por parte de los ...
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On the w@terfront, una publicació acadèmica modesta, ha orientat la seva activitat a la investigació i difusió de temes relacionats amb el Disseny Urbà amb especial incidència en l'Art i l'Espai Públic; els processos de... more
On the w@terfront, una publicació acadèmica modesta, ha orientat la seva activitat a la investigació i difusió de temes relacionats amb el Disseny Urbà amb especial incidència en l'Art i l'Espai Públic; els processos de Regeneració Urbana amb la seva implicació en les noves modalitats de governança urbana, especialment en l'empoderament de la ciutadania mitjançant el desplegament de processos creatius de participació.Oberta a tot tipus de col·laboració externa, no podem obviar que, durant aquests anys, s’ha nodrit de l’activitat desenvolupada pel Centre de Recerca Polis (Universitat de Barcelona), del desenvolupament de diversos projectes d’investigació finançats competitivament, dels congressos i seminaris organitzats pel PAUDO (Public Art and Urban Design Observatory) i de les activitats acadèmiques, tant del programa de doctorat Espai Públic i Regneración Urbana com del Màster en Disseny Urbà: Art, Ciutat, Societat, tenint en compte que aquestes activitats acadèmiques han aportat a diferents universitats europees i iberoamericanes, una sèrie de titulats que exerceixen en elles la seva activitat acadèmica i de recerca.On the w@terfront, a modest academic journal, has focused its activity to the research and dissemination of issues related to Urban Design with special emphasis on Public Art and Public Space; Urban Regeneration processes with their involvement in new forms of urban governance, especially in empowering citizens through the implementation of creative processes of participation.Open to all kinds of external collaboration, we can not ignore that, over the years, it has nurtured the activity carried out by the Centre Polis Research (University of Barcelona), the development of various research projects funded competitively;the conferences and the seminars organized by PAUDO (Public Art and Urban Design Observatory) and the academic activities of both the Public Space and Urban Regeneration doctorate programme and the Master in Urban Design: Art, City, Society, taking into account that these academic activities have contributed to various European and Latin American universities a number of graduates that now are practicing academic and research activities.On the w@terfront, una publicación académica modesta, ha orientado su actividad a la investigación y difusión de temas relacionados con el Diseño Urbano con especial incidencia en el Arte y el Espacio Público; los procesos de Regeneración Urbana con su implicación en las nuevas modalidades de gobernanza urbana, especialmente en el empoderamiento de la ciudadanía mediante la puesta en marcha de procesos creativos de participación.Abierta a todo tipo de colaboración externa, no podemos obviar que, durante estos años, se ha nutrido de la actividad desarrollada por el Centro de Investigación Polis (Universitat de Barcelona), del desarrollo de diversos proyectos de investigación financiados competitivamente, de los congresos y seminarios organizados por el PAUDO (Public Art and Urban Design Observatory) y de las actividades académicas, tanto del programa de doctorado Espacio Público y Regneración Urbana como del Máster en Diseño Urbano: Arte, Ciudad, Sociedad, teniendo en cuenta que estas actividades académicas han aportado a distintas universidades europeas e iberoamericanas, una serie de titulados que ejercen en ellas su actividad académica y de investigación
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Aquest es un article sobre art public, ciutat i governanca urbana. S'articula com un relat historic iniciat a la Barcelona de 1929 amb el Pavello Mies van der Rohe. Es alhora un relat escrit i un relat visual. Per lliuraments, amb una... more
Aquest es un article sobre art public, ciutat i governanca urbana. S'articula com un relat historic iniciat a la Barcelona de 1929 amb el Pavello Mies van der Rohe. Es alhora un relat escrit i un relat visual. Per lliuraments, amb una estructura hipertextual. Recomano una lectura en pantalla i amb un bon cercador per relacionar la lecura i les imatges amb l'ampliacio d'informacio. No es una Historia, es el resum d'histories. Conceptuals, cognitives i personals. Saltem de ciutat en ciutat. La majoria de les imatges que ens acompanyen han estat preses per l'autor. L'art public i el disseny urba genera una cartografia i una temporalitat que poso en contrast amb amb la literatura sobre el tema, escollida de forma personal i amb una vocacio interdiscplinar. El lector pot seguir el text o aturar-se en els quadres. Combinar el text amb els quadres. Usar les possibilitats de realitat augmentada. El treball conclou amb un estudi de cas dedicat a Brancusi.
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This chapter explores the possibilities for co-designing public space with local communities, starting from the experience that the POLIS Research Centre has built up over 20 years working in various neighbourhoods in the Barcelona... more
This chapter explores the possibilities for co-designing public space with local communities, starting from the experience that the POLIS Research Centre has built up over 20 years working in various neighbourhoods in the Barcelona Metropolitan Area. POLIS has developed its interdisciplinary public participation activity in the fields of urban design and public art within the framework of Urban Regeneration processes. It explores the implementation of creative strategies for citizen participation, that can be encompassed under the concept of urban governance, which we take to refer to the quality of participation necessary ‘to ensure that political, social and economic priorities are based on a broad consensus in society and that the voices of the excluded, poorest and most vulnerable are heard in decision-making’ (UNDP in Governance for Sustainable Development: Integrating Governance in the Post-2015 Development Framework, United Nations Development Programme, New York, 2014, 4).
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La presente investigacion, fundamentada dentro de las perspectivas humanisticas cualitativas, tiene como objetivo aportar los conocimientos en el marco de la movilidad y del espacio publico, con el fin de generar lineamientos que permitan... more
La presente investigacion, fundamentada dentro de las perspectivas humanisticas cualitativas, tiene como objetivo aportar los conocimientos en el marco de la movilidad y del espacio publico, con el fin de generar lineamientos que permitan promover un estilo de vida urbana centrado en la integracion entre distintos modos de transportes publicos motorizados y no motorizados. En la primera parte de la tesis, se evidencia buenas practicas urbanas donde la insercion de sistemas de transportes masivos, ha beneficiado la movilidad y favorecido el mejoramiento de la calidad de los espacios publicos, convirtiendo la ciudad en un referente urbano. La construccion del marco conceptual, permitio validar la hipotesis de investigacion planteada, “El impacto de la insercion del Metro, como una buena practica para la planificacion del transporte, se minimiza si no se considera la diversidad, la accesibilidad y la cualificacion de sus espacios publicos, como indicadores para el manejo de la movilida...
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Dos exposiciones
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A. Remesar (Ed) The Art of Urban Design in Urban Regeneration. Interdisciplinarity, Policies, Governance, Public Space Pàges: 156 ISBN: 978-84-475-3781-5 Edition: 2016 Barcelona. Universitat de Barcelona. Edicions i... more
A. Remesar (Ed)
The Art of Urban Design in Urban Regeneration. Interdisciplinarity, Policies, Governance, Public Space
Pàges: 156
ISBN: 978-84-475-3781-5
Edition: 2016
Barcelona. Universitat de Barcelona. Edicions i Publicacions
This volume comprises transcripts of the presentations made at the International seminar “CITIES. Interdisciplinary Issues in Urban Regeneration, Urban Design, Public Art and Public Space”, organized by the POLIS Research Centre and the PAUDO (Public Art and Urban Design Observatory) network in December 2013. The book traces the paths of economic and political theory concerning the role of urban regeneration processes, from an overview of the policies implemented in Europe to their actual impact on job creation and local innovation initiatives. It addresses physical aspects of urban design processes, analysing an interdisciplinary project for urban regeneration of the Lisbon riverfront, and proposes some ideas on how to deal with climate change in the construction of public space in cities. Finally, the book concludes with a reflection on new modes of urban governance that can make an urban environment more liveable, evaluating the involvement of neighbours reconvertint their role from consultive partners to active participants in the physical (urban design) and symbolic (public art) transformation of their communities. Thus, the book encompasses a broad reflection on urban regeneration, with contributions from disciplinary fields as diverse as Economics, Public Policy, Urban Design and Architecture, Landscaping and Public Art, and draws attention to the need for further interdisciplinary work.
Contents
The Art of Urban Design in Urban Regeneration. Interdisciplinarity, Policies, Governance and Public Space
Introduction
A. Remesar
Evaluating the Policies of Urban Regeneration in Europe
Montserrat Simó
Employment and Territory. Integrating labour market policies into urban regeneration processes in Catalonia: Treball als Barris case study
Nemo A. Remesar
Climate Change and Urbanism. A new role for public space design?
J. P. Costa, Maria Matos Silva, Ana Rita Ochoa
Campo das Cebolas – Doca da Marinha (Lisbon). A continuous system of pedestrian public spaces open to the city and the river
J. Henrich
Urban Governance and Creative Participation in Public Space and Public Art
A. Remesar, T. Vidal, X. Salas
The Art of Urban Design in Urban Regeneration. Interdisciplinarity, Policies, Governance, Public Space
Pàges: 156
ISBN: 978-84-475-3781-5
Edition: 2016
Barcelona. Universitat de Barcelona. Edicions i Publicacions
This volume comprises transcripts of the presentations made at the International seminar “CITIES. Interdisciplinary Issues in Urban Regeneration, Urban Design, Public Art and Public Space”, organized by the POLIS Research Centre and the PAUDO (Public Art and Urban Design Observatory) network in December 2013. The book traces the paths of economic and political theory concerning the role of urban regeneration processes, from an overview of the policies implemented in Europe to their actual impact on job creation and local innovation initiatives. It addresses physical aspects of urban design processes, analysing an interdisciplinary project for urban regeneration of the Lisbon riverfront, and proposes some ideas on how to deal with climate change in the construction of public space in cities. Finally, the book concludes with a reflection on new modes of urban governance that can make an urban environment more liveable, evaluating the involvement of neighbours reconvertint their role from consultive partners to active participants in the physical (urban design) and symbolic (public art) transformation of their communities. Thus, the book encompasses a broad reflection on urban regeneration, with contributions from disciplinary fields as diverse as Economics, Public Policy, Urban Design and Architecture, Landscaping and Public Art, and draws attention to the need for further interdisciplinary work.
Contents
The Art of Urban Design in Urban Regeneration. Interdisciplinarity, Policies, Governance and Public Space
Introduction
A. Remesar
Evaluating the Policies of Urban Regeneration in Europe
Montserrat Simó
Employment and Territory. Integrating labour market policies into urban regeneration processes in Catalonia: Treball als Barris case study
Nemo A. Remesar
Climate Change and Urbanism. A new role for public space design?
J. P. Costa, Maria Matos Silva, Ana Rita Ochoa
Campo das Cebolas – Doca da Marinha (Lisbon). A continuous system of pedestrian public spaces open to the city and the river
J. Henrich
Urban Governance and Creative Participation in Public Space and Public Art
A. Remesar, T. Vidal, X. Salas
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Research conducted by our research centre trying to study the evolution of public art in Lisbon (Elias, 2007; Andrade, 2012), Lima (Hamann, 2011) and Barcelona (de Lecea, Remesar, Grandas, 2011-2015), found that public art production has... more
Research conducted by our research centre trying to study the evolution of public art in Lisbon (Elias, 2007; Andrade, 2012), Lima (Hamann, 2011) and Barcelona (de Lecea, Remesar, Grandas, 2011-2015), found that public art production has an incremental evolution from the second half of the nineteenth century. The rise of the bourgeoisie as the hegemonic social class involves the creation of a new system of representations devoted to express and publicizing the values of this class. In the case of the city, this representation system appears in the design of the city itself and in presence of the heroes, protagonists of change, in public space shaped as statuary monuments
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This paper considers the possibilities for public art and urban design to implement civic participatory strategies. It starts with a short analysis of the implementation of the Francoist " Ley de Asociaciones " and its impact on the Urban... more
This paper considers the possibilities for public art and urban design to implement civic participatory strategies. It starts with a short analysis of the implementation of the Francoist " Ley de Asociaciones " and its impact on the Urban Social Movements of the Spanish Transition till the present day. In the framework of the relationship between the concept of civic participation and that of urban governance, it analyses the experience of citizen participation in the Barcelona neighbourhood of Baró de Viver. Two of the results of the process, the Monument to the Casas Baratas (Affordable Houses) and the Wall of Remembrance, enable us to discuss the role of the relationship among technicians, politicians and neighbours in the context of specific project decision making. Moreover, the paper analyses the role of " facilitator " that our team defends as a working attitude in the processes of citizen participation.
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We do not intend here to trace the history of the notion of Urban Decorum. Generally, decorum refers to the suitability of a design. In the past, designers had to articulate the significance of a building, defined in terms of use, social... more
We do not intend here to trace the history of the notion of Urban Decorum. Generally, decorum refers to the suitability of a design. In the past, designers had to articulate the significance of a building, defined in terms of use, social status, and physical location. The architectural decorum insisted that a design should agree with its purpose and be appropriately adapted to its audience, namely other buildings and the public at large
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When focusing our analysis on the perspective of the housing problem, we should note that it has to be analyzed in two distinct phases. The first, which began in the late 19th century and is framed in the general European context of... more
When focusing our analysis on the perspective of the
housing problem, we should note that it has to be analyzed in two distinct phases. The first, which began in the late 19th century and is framed in the general European context of providing housing for workers in crowded cities, was to be implemented in Spain through the development of various o the more general problem of “city organization” derived from the influences of thinking about Municipalism (even during the dictatorship of Primo de Rivera) and of territorial planning, a thought that represents the emergence of the role of the state as a regulatory body on urban problems. This line of thought led to planning proposals for Madrid and Barcelona, and to the development of various laws. These not only regulated the problem of providing affordable housing, but also addressed the more general problem of Spain’s modernization and reorganization of the production system, especially since the economic crises of the 1930s.
housing problem, we should note that it has to be analyzed in two distinct phases. The first, which began in the late 19th century and is framed in the general European context of providing housing for workers in crowded cities, was to be implemented in Spain through the development of various o the more general problem of “city organization” derived from the influences of thinking about Municipalism (even during the dictatorship of Primo de Rivera) and of territorial planning, a thought that represents the emergence of the role of the state as a regulatory body on urban problems. This line of thought led to planning proposals for Madrid and Barcelona, and to the development of various laws. These not only regulated the problem of providing affordable housing, but also addressed the more general problem of Spain’s modernization and reorganization of the production system, especially since the economic crises of the 1930s.
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The exhibition presents those projects implemented in the public space, those involving a practical demonstration of the results of the research. In this sense, the works show relationship of the centre’s work with the principles of... more
The exhibition presents those projects implemented in the public space, those involving a practical demonstration
of the results of the research.
In this sense, the works show relationship of the centre’s work with the principles of so-called “social urbanism”
and claim some of the possible parameters for the concept “social transfer of knowledge”, opposed to the concept of “technology transfer” so popular in accreditation and validation processes for university work.
The field of Arts and Humanities can be clearly expanded linked to the objectives and needs of social groups in our surroundings, in collaboration with governments of proximity and totally away, of the prevailing economic criteria that limit the activity of the University to some, usually dependent relationships with the productive fabric, ergo, the companies.
Our research may, as shown in the exhibition, go beyond the limited linkages with the world of business and expand into the territories of the social, of citizenship, of the processes of city making.
We start from the idea of the close connection between the Arts, the City and the Society.
But we do not assume the role of demiurge nor the role of mediators.
Our convictions tell us of the urgent need to work from the perspective of urban accessibility (Art for All), the logic of collective work (Art in all) and from the belief that public art and urban design can overcome criticism to be instruments of “makeup”, only, if organized as cooperative processes - whether in the instance
of the program, either in the instance of Project- in which overcome barriers between government, technical staff and citizenship.
Only then the process of city making through public art and urban design can become a tool for social transformation.
Certainly, a limited transformation, limited, which can even receive the epithet of reformist from the hubbub
of the other side of the coin of “unique thinking” that is to say, from the absolutism of “or black or white”, “or revolution or ... ???”.
Resisting the power (in the sense of dominance) can often be expressed by the power (in the sense of capacity)
to transform the small, what we have around us, what we care about. Improve public space does not have a direct impact on the “Butterfly effect”.
of the results of the research.
In this sense, the works show relationship of the centre’s work with the principles of so-called “social urbanism”
and claim some of the possible parameters for the concept “social transfer of knowledge”, opposed to the concept of “technology transfer” so popular in accreditation and validation processes for university work.
The field of Arts and Humanities can be clearly expanded linked to the objectives and needs of social groups in our surroundings, in collaboration with governments of proximity and totally away, of the prevailing economic criteria that limit the activity of the University to some, usually dependent relationships with the productive fabric, ergo, the companies.
Our research may, as shown in the exhibition, go beyond the limited linkages with the world of business and expand into the territories of the social, of citizenship, of the processes of city making.
We start from the idea of the close connection between the Arts, the City and the Society.
But we do not assume the role of demiurge nor the role of mediators.
Our convictions tell us of the urgent need to work from the perspective of urban accessibility (Art for All), the logic of collective work (Art in all) and from the belief that public art and urban design can overcome criticism to be instruments of “makeup”, only, if organized as cooperative processes - whether in the instance
of the program, either in the instance of Project- in which overcome barriers between government, technical staff and citizenship.
Only then the process of city making through public art and urban design can become a tool for social transformation.
Certainly, a limited transformation, limited, which can even receive the epithet of reformist from the hubbub
of the other side of the coin of “unique thinking” that is to say, from the absolutism of “or black or white”, “or revolution or ... ???”.
Resisting the power (in the sense of dominance) can often be expressed by the power (in the sense of capacity)
to transform the small, what we have around us, what we care about. Improve public space does not have a direct impact on the “Butterfly effect”.
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En los últimos años hemos asistido a una especie de eclosión de la actividad artística sobre la ciudad. En la conferencia se plantea un análisis de algunas de las razones de esta eclosión al tiempo que se reflexiona sobre la... more
En los últimos años hemos asistido a una especie de eclosión de la actividad artística sobre la ciudad. En la conferencia se plantea un análisis de algunas de las razones de esta eclosión al tiempo que se reflexiona sobre la sostenibilidad de los programas de arte público lanzados desde la administración local. ¿Será que nos acercamos a un periodo an-estético de la ciudad? o ¿será que la estética urbana se soportará, casi exclusivamente, en el juego especular y espectacular del edificio piel?
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ANTONI REMESAR AND & SALVADOR GARClA FORTES
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Ildefonso Cerdà's work has been undervalued in the context of the historiography on urbanism. However his work is becoming recognized as essential in the deployment of this field of social and economic practice and of research now called... more
Ildefonso Cerdà's work has been undervalued in the context of the historiography on urbanism. However his work is becoming recognized as essential in the deployment of this field of social and economic practice and of research now called urbanism. In this paper we will not address nor the aspects of "planning" inherent to the Cerdà's project nor the derived aspects of his thinking on the discipline of "urbanization". Instead, we focus our attention on some of the methodological procedures of Cerdà less widespread but that are essential for development, not only of his Reform and Expansion Project for Barcelona, but also for the articulation of his theory. In the context of this conference we will focus on the "intervia", in the building and we will try to study, to what extent, Cerdà includes the popular construction. For Cerdà 1 , the object of " urbanization " 2 , a new scientific field of study can be summarized in To give an idea of the development in the field of science, we say that [i] its constituent elements are shelters (intervia), [ii] its object is reciprocity of services and [iii] its means, the common pathways (vías), ie common use " (Cerdà, 1867:vol I, 44-45). " What matters now is to consign the characteristic forms of the house at the time we are speaking, because it is very shocking at first sight, we are interested to know, that what we find in some urban construction and in certain circumstances, is incompatible with civilization, culture and mores of our times,. (Cerdà, 1867: vol I,libro IV, 699)
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La política de gestión patrimonial desarrollada en la última década -la llamada <década de la memoria histórica>'- desde el Ayuntamiento de Barcelona opta por la eliminación total de monumentos fianquistas que aún perduraban, aunque sin... more
La política de gestión patrimonial desarrollada en la última década -la llamada <década de la memoria histórica>'- desde el Ayuntamiento de Barcelona opta por la eliminación total de monumentos fianquistas que aún perduraban, aunque sin simbología fascista. A este ejercicio de supresión no ha seguido una política clara degeneración de nueva monumentalidad ni de nuevo espacio público, produciéndose <espacios sin memoria>", faltos de interpretaciones contemporáneas que permitan una lectura histórica del lugar.
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in HAMANN, Johana (ED) LIMA: ESPACIO PÚBLICO, ARTE Y CIUDAD
ISBN 978-6124206023Pontificia Universidad Católica del Perú
ISBN 978-6124206023Pontificia Universidad Católica del Perú
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Urban growth and recent transformations brought us a new context of cities, introducing new urban characteristics and dynamics, such as: [1] scattered cities, polycentric and discontinuous, forming peri‐urban areas (where currently occur... more
Urban growth and recent transformations brought us a new context of cities, introducing new urban characteristics and dynamics, such as: [1] scattered cities, polycentric and discontinuous, forming peri‐urban areas (where currently occur the highest rates of urban growth and real estate development) highly dependent from the city centre; and [2] shrinking urban consolidated areas either due to the decrease and aging population or to the loss of activities / functions causing vacancy of space in the city centre. Transformations such as these ones originate ambivalent new urban realities which are not typically associated to the canonical city, instead they represent a new variety of typologies and characteristics important in nowadays context of territorial dynamics, having direct impacts on urban life. The emergence of these urban contexts also brings us some problems such as, lack of connectivity; fragmentation issues; segregation and marginalization; lack of functions and user's diversity; or loss of social and economic dynamics. Can these problems become challenges as driving forces for necessary urban transformations? Although these fragilities have different types and levels of impact depending on the urban reality where they occur we can ask whether the fragility of the social and economic structures is caused by the lack of cohesion in the morphological and functional structure of these territories. To try to understand this phenomenon we have recently introduced the concept of Urban Cohesion (Pinto, Remesar, 2012), intending to describe a set of factors with direct influence on urban development. The fundaments of this concept come from the notion of Territorial Cohesion, introduced by CEC (2004), but looking to enable the transition from the definition of strategies to the formulation of specific intervention measures which can open the way to manage these new urban realities. Thus, we argue that urban cohesion evolves issues related to physical form of the city and
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RESUMEN La recuperación de los centros urbanos se ha convertido en una de las política de renovación urbana más importante de las últimas décadas. Vaciados de la mezcla de usos y funciones que los han caracterizado durante centenares de... more
RESUMEN
La recuperación de los centros urbanos se ha convertido en una de las política de renovación urbana más
importante de las últimas décadas. Vaciados de la mezcla de usos y funciones que los han caracterizado
durante centenares de años; relativamente aislados del resto de la fábrica urbana de la ciudad; poco
accesibles debido a su trazado; presionados por la especulación inmobiliaria y ahogados por la lógica
patrimonialista, los centros históricos de las ciudades plantean retos importantes al Diseño urbano.
La recuperación de los centros urbanos se ha convertido en una de las política de renovación urbana más
importante de las últimas décadas. Vaciados de la mezcla de usos y funciones que los han caracterizado
durante centenares de años; relativamente aislados del resto de la fábrica urbana de la ciudad; poco
accesibles debido a su trazado; presionados por la especulación inmobiliaria y ahogados por la lógica
patrimonialista, los centros históricos de las ciudades plantean retos importantes al Diseño urbano.
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El siguiente artículo estudia las estrategias de gestión del patrimonio y el arte público en la ciudad de Barcelona (España) a lo largo de todo el periodo de la democracia en relación a la memoria de la IIª República, la Guerra Civil y el... more
El siguiente artículo estudia las estrategias de gestión del patrimonio y el arte público en la ciudad de Barcelona (España) a lo largo
de todo el periodo de la democracia en relación a la memoria de la IIª República, la Guerra Civil y el Franquismo. La complejidad
política y social asociada a estos periodos se refleja en las continuidades y discontinuidades de las distintas líneas de intervención
llevadas a cabo desde el Ayuntamiento de la ciudad. Estas líneas se articulan alrededor de tres grandes ejes: la recuperación de
monumentos eliminados y/o modificados durante el franquismo; la eliminación y/o substitución de símbolos y monumentos
franquistas; y el homenaje desde la democracia. Destaca la política desarrollada en la última década, -la llamada década de la
memoria histórica-, cuando el consistorio opta por la eliminación total de monumentos franquistas que aún perduraban, aunque sin
simbología fascista. A este ejercicio de supresión no ha seguido una política clara de generación de nueva monumentalidad ni de
nuevo espacio público, produciéndose espacios sin memoria.
PALABRAS CLAVES:
patrimonio, monumento, cultura, memoria histórica, Barcelona, espacios de memoria
de todo el periodo de la democracia en relación a la memoria de la IIª República, la Guerra Civil y el Franquismo. La complejidad
política y social asociada a estos periodos se refleja en las continuidades y discontinuidades de las distintas líneas de intervención
llevadas a cabo desde el Ayuntamiento de la ciudad. Estas líneas se articulan alrededor de tres grandes ejes: la recuperación de
monumentos eliminados y/o modificados durante el franquismo; la eliminación y/o substitución de símbolos y monumentos
franquistas; y el homenaje desde la democracia. Destaca la política desarrollada en la última década, -la llamada década de la
memoria histórica-, cuando el consistorio opta por la eliminación total de monumentos franquistas que aún perduraban, aunque sin
simbología fascista. A este ejercicio de supresión no ha seguido una política clara de generación de nueva monumentalidad ni de
nuevo espacio público, produciéndose espacios sin memoria.
PALABRAS CLAVES:
patrimonio, monumento, cultura, memoria histórica, Barcelona, espacios de memoria
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This chapter discusses some of the key concepts in the consideration of public art as a central element in urban regeneration processes, especially in reference to its role in the processes of citizens participation.
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Las últimas décadas del s.XX y la primera del XXI han supuesto una especial relación entre “lo social” y “lo artístico”. Cada vez son más las experiencias del mundo del arte que se concentran en el desarrollo de “prácticas sociales”. Cada... more
Las últimas décadas del s.XX y la primera del XXI han supuesto una especial relación entre “lo social” y “lo artístico”. Cada vez son más las experiencias del mundo del arte que se concentran en el desarrollo de “prácticas sociales”. Cada vez más las prácticas sociales, incluido el cambio en la base económica de las sociedades avanzadas, se han orientado hacia la “creación” y lo artístico.
En este trabajo, derivado de una presentación “audiovisual”, intentaremos analizar alguna de estas interrelaciones con el objetivo de valorar si su intersección en la vida cotidiana ayuda a una mayor extensión del arte en lo social y por ende a su socialización y accesibilidad por parte de todos.
Una primera consideración ¿qué entendemos por socialización y accesibilidad?. Seguramente son muchas las respuestas posibles, pero trataremos de argumentar algunos aspectos que nos parecen relevantes.
En este trabajo, derivado de una presentación “audiovisual”, intentaremos analizar alguna de estas interrelaciones con el objetivo de valorar si su intersección en la vida cotidiana ayuda a una mayor extensión del arte en lo social y por ende a su socialización y accesibilidad por parte de todos.
Una primera consideración ¿qué entendemos por socialización y accesibilidad?. Seguramente son muchas las respuestas posibles, pero trataremos de argumentar algunos aspectos que nos parecen relevantes.
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Abordar as relações entre os processos de regeneração urbana e a arte pública é um lema difícil e complicado devido, em grande parte, à polissemia dos dois conceitos e por incidir em áreas em que predomina a visão cultural do império,... more
Abordar as relações entre os processos de regeneração urbana e a arte pública é um lema difícil e complicado devido, em grande parte, à polissemia dos dois conceitos e por incidir em áreas em que predomina a visão cultural do império, distorcendo. tal como acontece noutros âmbitos. a percepção e o saber que podemos ler sobre a realidade.
Em qualquer caso é pertinente falar-se de regeneração urbana a partir dos processos urbanos desenvolvidos em lodo o mundo, após a Segunda Guerra Mundial. Este conceito agrupa realidades diversas e dispares, respeitantes a práticas de renovação do tecido urbano, mediante programas intensivos. Conceitos como "urban renewal" ou "urban rehabilitalion", estão contidos no de Regeneração Urbana.
Em qualquer caso é pertinente falar-se de regeneração urbana a partir dos processos urbanos desenvolvidos em lodo o mundo, após a Segunda Guerra Mundial. Este conceito agrupa realidades diversas e dispares, respeitantes a práticas de renovação do tecido urbano, mediante programas intensivos. Conceitos como "urban renewal" ou "urban rehabilitalion", estão contidos no de Regeneração Urbana.
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ABSTRACT The present final Master’s dissertation takes as its starting point the urban interventions that took place in Barcelona since 1979 until today, beginning with the restoration of the first democratic city halls, later known as... more
ABSTRACT
The present final Master’s dissertation takes as its starting point the urban interventions that took place in Barcelona since 1979 until today, beginning with the restoration of the first democratic city halls, later known as Barcelona Model.
My research focuses on the analysis of pavements used in the above mentioned urban interventions. The aim is to obtain practical knowhow which will be useful for the design of paving proposals. My research question is as follows: What can be learned from the pavement of the Barcelona Model to carry out a paving proposal?
The work consists of five chapters. The first one presents an introduction to the Barcelona Model with particular emphasis on the urban transformation of the city and focusing on the primary elements of urbanisation.
The second chapter goes back in time to present a brief historical approach on the pavements of Barcelona, beginning with the pavement of the inner city, followed by the Ildelfons Cerdà Theory in 1859, and the later paving interventions directed by Adolf Florensa during the sixties.
In the third chapter the paving of seventeen recent interventions in the last thirty
years are analysed. Utilised paving elements are catalogued with drawings that
reflect their location . These data are analysed in the fourth chapter, by providing
an overview of the pavement’s evolution and extracting the basic characteristics
of these paving projects.
The fifth chapter presents two paving projects in where I have the opportunity to
collaborate with the Centre de Recerca Polis in order to develop a proposal so as
to improve the ER 261 road around Escatelares in the area of Alentejo, Portugal,
as well as a project of ideas for the urbanisation of the Rambla Ciutat Asunció in
Baró de Viver, Barcelona.
This paper concludes with a positive valorisation of the interventions during the
Barcelona Model as a model for the design of other public spaces, as it provides
an interesting repertoire of materials, constructive solutions and useful design
criteria for any paving project.
KEY WORDS: Pavement, Barcelona Model, urban design, primary elements of
urbanisation
The present final Master’s dissertation takes as its starting point the urban interventions that took place in Barcelona since 1979 until today, beginning with the restoration of the first democratic city halls, later known as Barcelona Model.
My research focuses on the analysis of pavements used in the above mentioned urban interventions. The aim is to obtain practical knowhow which will be useful for the design of paving proposals. My research question is as follows: What can be learned from the pavement of the Barcelona Model to carry out a paving proposal?
The work consists of five chapters. The first one presents an introduction to the Barcelona Model with particular emphasis on the urban transformation of the city and focusing on the primary elements of urbanisation.
The second chapter goes back in time to present a brief historical approach on the pavements of Barcelona, beginning with the pavement of the inner city, followed by the Ildelfons Cerdà Theory in 1859, and the later paving interventions directed by Adolf Florensa during the sixties.
In the third chapter the paving of seventeen recent interventions in the last thirty
years are analysed. Utilised paving elements are catalogued with drawings that
reflect their location . These data are analysed in the fourth chapter, by providing
an overview of the pavement’s evolution and extracting the basic characteristics
of these paving projects.
The fifth chapter presents two paving projects in where I have the opportunity to
collaborate with the Centre de Recerca Polis in order to develop a proposal so as
to improve the ER 261 road around Escatelares in the area of Alentejo, Portugal,
as well as a project of ideas for the urbanisation of the Rambla Ciutat Asunció in
Baró de Viver, Barcelona.
This paper concludes with a positive valorisation of the interventions during the
Barcelona Model as a model for the design of other public spaces, as it provides
an interesting repertoire of materials, constructive solutions and useful design
criteria for any paving project.
KEY WORDS: Pavement, Barcelona Model, urban design, primary elements of
urbanisation
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El término «ernpowermeno ha sido utilizado ampliame nte en los estudios sobre las organizaciones empresariales y se refiere a la necesidad de activar o potenciar la impl icación de los tr abajadores con la empresa en el marco de algunos... more
El término «ernpowermeno ha sido utilizado ampliame nte en los estudios sobre las organizaciones empresariales y se refiere a la necesidad de activar o potenciar la impl icación de los tr abajadores con la empresa en el marco de algunos procesos de co-gestión,
con el objetivo de mejorar la productividad.
Recient emente se ut iliza en contextos más amplios, especia lmente en algunas aproximaciones a la problemática de la gobernancia en el contexto de la crisis de las democracias form ales.
con el objetivo de mejorar la productividad.
Recient emente se ut iliza en contextos más amplios, especia lmente en algunas aproximaciones a la problemática de la gobernancia en el contexto de la crisis de las democracias form ales.
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La calidad es un criterio para el espacio público. ¿Qué podemos entender por espacio público de calidad? En primer lugar precisaremos que “calidad” es un concepto débil y que no se define apropiadamente. Dos criterios básicos para... more
La calidad es un criterio para el espacio público. ¿Qué podemos entender por espacio público de calidad?
En primer lugar precisaremos que “calidad” es un concepto débil y que no se define apropiadamente. Dos criterios básicos para definirla. El primero el de la satisfacción emocional que asegura que ella existe cuando el objeto o el espacio es capaz de transmitir y generar una implicación emotiva a su consumidor o usuario. El segundo se centra en el cumplimiento de unos requisitos previamente definidos (standards), al estilo de las auditorias. Emoción y norma, aspectos contradictorios.
En primer lugar precisaremos que “calidad” es un concepto débil y que no se define apropiadamente. Dos criterios básicos para definirla. El primero el de la satisfacción emocional que asegura que ella existe cuando el objeto o el espacio es capaz de transmitir y generar una implicación emotiva a su consumidor o usuario. El segundo se centra en el cumplimiento de unos requisitos previamente definidos (standards), al estilo de las auditorias. Emoción y norma, aspectos contradictorios.
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O Manual de Boas Práticas de Mobiliário Urbano em Centros Históricos reúne uma série de recomendações que devem ser ponderadas na realização, avaliação e execução de projectos urbanos e do seu mobiliário, quer da perspectiva da selecção... more
O Manual de Boas Práticas de Mobiliário Urbano em Centros Históricos reúne uma série de recomendações que devem ser ponderadas na realização, avaliação e execução de projectos urbanos e do seu mobiliário, quer da perspectiva da selecção de produtos ou objectos de produção industrial ou de desenho específico, quer da perspectiva da sua implantação e integração espacial.
As intervenções nos centros históri os envolvem diversas actividades que procuram a melh oria das suas qualidades físicas , económicas, sociais e culturais, entre outras. Neste contexto , este manual oferece linhas de or ientação que pe rmitam avaliar e adequar as necessidades de cada centro históri co, contribu indo para a sua valorização e identidade e para o seu desenvolvim ento susten tável, sem impedir a mudança ou estag nar a criatividade do projectista , mas de modo a assegurar que a tran sformação quando ocorre, promove as caracterís ticas intrínsecas dos centros históricos Para além di sto , resulta num trabalho de consulta, capaz de informar e aconselhar, todos os intervenientes no espaço púb l ico no que se refere a mobiliário e equipamento urbano.
O design , através do mobiliário urbano deve ser entendido como um instrumento criativo capaz de intervir e transformar o espaço público , quer seja pela forma , quer seja pela função , quer seja pela sua organização espacial. Falamos , obviamente, de um diferente nível de produção de espaço à escala da rua , e é precisamente neste con texto que residem as principais questões relacionadas com o mobiliário e equipamento urbano abordadas neste estudo.
As intervenções nos centros históri os envolvem diversas actividades que procuram a melh oria das suas qualidades físicas , económicas, sociais e culturais, entre outras. Neste contexto , este manual oferece linhas de or ientação que pe rmitam avaliar e adequar as necessidades de cada centro históri co, contribu indo para a sua valorização e identidade e para o seu desenvolvim ento susten tável, sem impedir a mudança ou estag nar a criatividade do projectista , mas de modo a assegurar que a tran sformação quando ocorre, promove as caracterís ticas intrínsecas dos centros históricos Para além di sto , resulta num trabalho de consulta, capaz de informar e aconselhar, todos os intervenientes no espaço púb l ico no que se refere a mobiliário e equipamento urbano.
O design , através do mobiliário urbano deve ser entendido como um instrumento criativo capaz de intervir e transformar o espaço público , quer seja pela forma , quer seja pela função , quer seja pela sua organização espacial. Falamos , obviamente, de um diferente nível de produção de espaço à escala da rua , e é precisamente neste con texto que residem as principais questões relacionadas com o mobiliário e equipamento urbano abordadas neste estudo.
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in Pedro Brandao (ed). User Design. Lisbon. Centro Portugués de Design 2003.
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- Une statue en oucí? Demanda Tristause. En marbre? En bronze? - Non, c'est trap vioux. répondit rcseeeu de Benin, il tcut que jo lui seulple un profonde statue en rien , comme la poésio et eomme la gloire. Apo llinaire Now one year ago,... more
- Une statue en oucí? Demanda Tristause. En
marbre? En bronze?
- Non, c'est trap vioux. répondit rcseeeu de
Benin, il tcut que jo lui seulple un profonde statue
en rien , comme la poésio et eomme la gloire.
Apo llinaire
Now one year ago, I had the opportunity to vlsít
for the first time the district of Marvila. I entered
the zone through Olaias coming from Alameda's
Avenue. Like always by foot, without map and
with a minimal know ledge of what I could find
or of what would be interesting to see . A certain
situationist attitude. a personal versíon of the drift
method!.
marbre? En bronze?
- Non, c'est trap vioux. répondit rcseeeu de
Benin, il tcut que jo lui seulple un profonde statue
en rien , comme la poésio et eomme la gloire.
Apo llinaire
Now one year ago, I had the opportunity to vlsít
for the first time the district of Marvila. I entered
the zone through Olaias coming from Alameda's
Avenue. Like always by foot, without map and
with a minimal know ledge of what I could find
or of what would be interesting to see . A certain
situationist attitude. a personal versíon of the drift
method!.
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Banks, docks, shores and borders. The problem of the Integration of the creative disciplines in the management of the metropolitan territory.The problem of the Integration of the creative disciplines in the management of the metropolitan... more
Banks, docks, shores and borders. The
problem of the Integration of the creative
disciplines in the management of
the metropolitan territory.The problem of the Integration of the creative disciplines in the management of the metropolitan territory Banks, docks, shores and borders The problem of the Integration of the creative disciplines in the management of the metropolitan territory Paper presented at Practiques de creàtion et Management de la Region Metropolitane (Grenoble) 1998
problem of the Integration of the creative
disciplines in the management of
the metropolitan territory.The problem of the Integration of the creative disciplines in the management of the metropolitan territory Banks, docks, shores and borders The problem of the Integration of the creative disciplines in the management of the metropolitan territory Paper presented at Practiques de creàtion et Management de la Region Metropolitane (Grenoble) 1998
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The main conclusion of the international symposium Waterfronts of Art: Art Social for Facilitation, developed in Barcelona this year between the 2nd and 4th of September, has been the need to meditate and to act in the address of the... more
The main conclusion of the international symposium Waterfronts of Art: Art Social for Facilitation, developed in Barcelona this year between the 2nd and 4th of September, has been the need to meditate and to act in the address of the civic participation, especially in the context of the proposals for Public Art. I believe this conclusion is important because shows a shift in the approach to the topic of Public Art and they presume also to consider of the artist's role and of his/her training. The concept of Public Art We talk a lot about Public Art but few definitions are available to us to advance in the knowledge of this field. From my perspective, we can locate the beginning of the concept in the work of some of the urban studies pioneers. Cerda, in Barcelona, claims for the necessary public ornament for the new cities; from 1897 they begin to talk of Outdoor Art and of Urban Art, to define a certain relationship between the urban plans and the insert of works of art in the design of the city. The movement of City Beautiful outlines some interesting considerations about this concept although good part of its results concentrates on the development of a " Dialectics of Power " through art and architecture. The philosophy of some artistic and architectural movements seeks to explain this concept by means of the melt of the diverse arts implicated in Urban Design (Modern Style, Bauhaus, etc). However, the concept explodes after the II nd World War. The reconstruction of the European cities supposes a new balance among urban planning, architecture and public art. The own exhaustion of the modern movement in its inability to renovating the urban downtowns in USA propitiates the emergency of new practices and a revitalisation of the public sculpture. The shift of perspective of the Minimal Art an Land Art movements produce the emergency of the concept "public" in the interior of the sculptural language and, like Morris or Smithson outline, this is a parallel process to the reconsideration of the concept of monument, intrinsically associated to the sculptural practice in public spaces.
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Diseño Urbano. Construyendo el Espacio
de la participación ciudadana
de la participación ciudadana
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The topic of my talk is “urbanscapes of glocalization”. Let me say that I prefer the term “urbanscapes” to the usual term “landscape”. Richard Sennet pointed out some years ago, that the “landscape” term supposes a specific perspective (a... more
The topic of my talk is “urbanscapes of
glocalization”.
Let me say that I prefer the term “urbanscapes” to the usual term “landscape”. Richard Sennet pointed out some
years ago, that the “landscape” term supposes a specific perspective (a fixed eye in a fixed position) and a romantic approach to the picturesque, the land, the
earth, the Nature.
So I prefer to use the term “urbanscapes” (in plural) to refer to the “form” of the built environment. The form that can summarise the identity of a city through an image
glocalization”.
Let me say that I prefer the term “urbanscapes” to the usual term “landscape”. Richard Sennet pointed out some
years ago, that the “landscape” term supposes a specific perspective (a fixed eye in a fixed position) and a romantic approach to the picturesque, the land, the
earth, the Nature.
So I prefer to use the term “urbanscapes” (in plural) to refer to the “form” of the built environment. The form that can summarise the identity of a city through an image
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The bridge is a fundamental element for the articulation of territories. Its main role is to settle up fluidity and concectiviness between the different parts of a territory, and so doing to generate a dynamics necessary for development... more
The bridge is a fundamental element for the articulation of territories. Its main role is to settle up fluidity and concectiviness between the different parts of a territory, and so
doing to generate a dynamics necessary for development and history.
The bridge helps to fill the black holes which the physical morphology casts against the human endeavour.
The bridge as either pass and conectiviness has its better representation in the topical
image of the gates of a mediaeval city or castle. Isolated from the rest of the world,defended bythick walls and huge moats, the bridge opens/closes the conectiviness to thecity.
But we cannot break off the bridge from the route, because the bridge takes only senseas a part of the way; it is only the more artificial part of the route. Because its double
attribute as structure and as a function, the bridge can define the necessary network from
one city toanother one, from one market to the other.
Some times, as that is the case for Cambridge- the junction point over the Cam river that allowed trade between central England
doing to generate a dynamics necessary for development and history.
The bridge helps to fill the black holes which the physical morphology casts against the human endeavour.
The bridge as either pass and conectiviness has its better representation in the topical
image of the gates of a mediaeval city or castle. Isolated from the rest of the world,defended bythick walls and huge moats, the bridge opens/closes the conectiviness to thecity.
But we cannot break off the bridge from the route, because the bridge takes only senseas a part of the way; it is only the more artificial part of the route. Because its double
attribute as structure and as a function, the bridge can define the necessary network from
one city toanother one, from one market to the other.
Some times, as that is the case for Cambridge- the junction point over the Cam river that allowed trade between central England
Research Interests:
Sant Adrià of Besòs is a small town (35.000 inhabitants) bordering with Barcelona. Historically it has been a territory without municipal entity, until, with the Regional Plan of 1952, the territorial planning of Franco conferred... more
Sant Adrià of Besòs is a small town (35.000 inhabitants) bordering with Barcelona. Historically it has been a territory without municipal entity, until, with the Regional Plan of 1952, the territorial planning of Franco conferred municipal statute to the territory. In the years of industrial development Sant Adrià of Besòs became in a kind of a metropolitan dump through the establishment, along with polluting Industry, of some metropolitan facilities (heating and electrical plants, water treatment plants, etc.).
Sant Adrià of Besòs gets his name from the river Besòs, a strange and dangerous river like most of the Mediterranean Rivers. The river divides the city in two big areas that has become a territorial and social division of the city. Some of the degraded neighbourhoods in the Metropolitan Region of Barcelona are concentrated on the right riverbank . It is this territory that, at the moment , is being planned as the territory in which the great Barcelona can close the urban
development of its waterfront.
The urban office Barcelona Regional, has proposed a plan for
development of the area that, among other things, contemplates the regeneration of the whole Besòs river with the intention of transforming it into a great metropolitan river park. At first glance it seems a good idea, but is this project good for Sant Adrià's development?, is the proposed project the best one possible?, are the social needs of the population attended to?.
These have been some of the questions that have brought about the experience of the workshops of civic participation.
Sant Adrià of Besòs gets his name from the river Besòs, a strange and dangerous river like most of the Mediterranean Rivers. The river divides the city in two big areas that has become a territorial and social division of the city. Some of the degraded neighbourhoods in the Metropolitan Region of Barcelona are concentrated on the right riverbank . It is this territory that, at the moment , is being planned as the territory in which the great Barcelona can close the urban
development of its waterfront.
The urban office Barcelona Regional, has proposed a plan for
development of the area that, among other things, contemplates the regeneration of the whole Besòs river with the intention of transforming it into a great metropolitan river park. At first glance it seems a good idea, but is this project good for Sant Adrià's development?, is the proposed project the best one possible?, are the social needs of the population attended to?.
These have been some of the questions that have brought about the experience of the workshops of civic participation.
Research Interests:
Urban Regeneration. A challenge for Public Art, supposed the start of a trend of critical thought related to the topics of Public Art, Urban Regeneration and Urban Design. This trend agglutinated around the Public Art Observatory that,... more
Urban Regeneration. A challenge for Public Art, supposed the start of a trend of critical thought related to the topics of Public Art, Urban Regeneration and Urban Design. This trend agglutinated around the Public Art Observatory that, still today, develops its activities.
The book gathers a series of critical proposals organized in the chapters " Art and Design in/for Public Space ", " Forms and Representations of Public Art/Public Space. The Producer/User Dilemma " and " Public Art / Cities in Competition: Strategies, Bridges and Gateways ", with the participation of, among others, Sergi Valera, Ray Smith, Martí Peran, Ian Rawlinson, Chaké Matosian, Enric Pol, J. Hyatt, J. Gingell or T. Bovaird
The book gathers a series of critical proposals organized in the chapters " Art and Design in/for Public Space ", " Forms and Representations of Public Art/Public Space. The Producer/User Dilemma " and " Public Art / Cities in Competition: Strategies, Bridges and Gateways ", with the participation of, among others, Sergi Valera, Ray Smith, Martí Peran, Ian Rawlinson, Chaké Matosian, Enric Pol, J. Hyatt, J. Gingell or T. Bovaird
Research Interests:
Public Art. An Ethical Approach Public art is under question. Taking art out of the galleries and into the public domain is not necessarily a straightforward step. Public Art: Towards a Theoretical Framework In other forums in... more
Public Art. An Ethical Approach
Public art is under question. Taking art out of the galleries and into the public domain is not necessarily a straightforward step.
Public Art: Towards a Theoretical Framework
In other forums in those which is intended to analyse the force of the public art concept, appear always two problems that, generally, they distort the environment and hinder a discussion in depth about of the topic.
The first issue makes reference to the fact of defending that all art is public art, weakening thus the possible development of the concept and including it in the swampy dimension
of the art definition.
The second, bounded in good measure to the first, makes reference to the rejection of the "public art" term and to the recovery of the concept "art for public spaces".
Public art is under question. Taking art out of the galleries and into the public domain is not necessarily a straightforward step.
Public Art: Towards a Theoretical Framework
In other forums in those which is intended to analyse the force of the public art concept, appear always two problems that, generally, they distort the environment and hinder a discussion in depth about of the topic.
The first issue makes reference to the fact of defending that all art is public art, weakening thus the possible development of the concept and including it in the swampy dimension
of the art definition.
The second, bounded in good measure to the first, makes reference to the rejection of the "public art" term and to the recovery of the concept "art for public spaces".
Research Interests:
The book (1997) review the main issues on Public Art focussing on the main aspects of art Theory and the relationship between Public art and Urban Regeneration
Research Interests:
Last week (10th-14th july) the UIU organized the “Smart cities: innovation, climate change, urban planning, governance and creative participation” course in Barcelona, attended by about 30 students from Five Universities that make up... more
Last week (10th-14th july) the UIU organized the “Smart cities: innovation, climate change, urban planning, governance and creative participation” course in Barcelona, attended by about 30 students from Five Universities that make up the UIU.
On the part of the Universidad Complutense de Madrid, Jesús Leal, Marta Domínguez and Andrés Walliser, developed the module “The impact of innovation on the social development of big cities”.
“Intelligent urban planning” was the contribution of the National Autonomous University of Mexico by Claudia Ortiz.
The module in charge of the University of Sao Paulo was divided in two contributions. Miguel Luiz Bucalem developed the theme “Cities and Climate Change” and Marcos Buckeridge the theme “The role of strategic urban planning for city development”.
“Intelligent cities: a modeling of development of good practices from the study of success stories” was the contribution of the University of Buenos Aires by Professors Omar Quiroga and Marcelo Lorelli.
Finally, the University of Barcelona, developed the module “Urban Cohesion, governance and creative participation” by the CR POLIS team.
In the afternoon session of this module participated:
Carme Turégano. District of Sant Andreu
M.A. Lozano. Coord. Plan Barrios de Barrios de Baró de Viver- Bon Pastor
Josep Capsir. AA.VV.Bon Pastor and some other members of the Neighbourghs Association
Joan Roca. MUHBA (Museo de Historia de Barcelona) Director
On the part of the Universidad Complutense de Madrid, Jesús Leal, Marta Domínguez and Andrés Walliser, developed the module “The impact of innovation on the social development of big cities”.
“Intelligent urban planning” was the contribution of the National Autonomous University of Mexico by Claudia Ortiz.
The module in charge of the University of Sao Paulo was divided in two contributions. Miguel Luiz Bucalem developed the theme “Cities and Climate Change” and Marcos Buckeridge the theme “The role of strategic urban planning for city development”.
“Intelligent cities: a modeling of development of good practices from the study of success stories” was the contribution of the University of Buenos Aires by Professors Omar Quiroga and Marcelo Lorelli.
Finally, the University of Barcelona, developed the module “Urban Cohesion, governance and creative participation” by the CR POLIS team.
In the afternoon session of this module participated:
Carme Turégano. District of Sant Andreu
M.A. Lozano. Coord. Plan Barrios de Barrios de Baró de Viver- Bon Pastor
Josep Capsir. AA.VV.Bon Pastor and some other members of the Neighbourghs Association
Joan Roca. MUHBA (Museo de Historia de Barcelona) Director
Research Interests:
Memoria, ciudadania, Mural de la Memoria Baró de Viver
Research Interests:
Employment policies and social services are not enough to promote the urban cohesion of a territory. The simple design of parts of the territory are not sufficient to realize the urban cohesion. Neither one nor the other. Both two, if we... more
Employment policies and social services are not enough to promote the urban cohesion of a territory. The simple design of parts of the territory are not sufficient to realize the urban cohesion. Neither one nor the other. Both two, if we want to prevent the territory slippage towards urban segregation unless we want a deterioration the territory although we employ a tactical urbanism.
The works are based on this idea though, as a result of a M.A. in Urban Design, we prioritize the "city making", the design and the construction of public space ale to produce a territorial integration; a public space that will become a guarantor of visibility, accessibility and connectivity between Baró de Viver and Bon Pastor neighbourhoods and between them and the rest of the city. An inclusive public space of residential space and productive space.
The projects propose a base of ideas for a cooperative and participatory work between neighbours and administration searching for urban cohesion in the process of urban regeneration of this area
The works are based on this idea though, as a result of a M.A. in Urban Design, we prioritize the "city making", the design and the construction of public space ale to produce a territorial integration; a public space that will become a guarantor of visibility, accessibility and connectivity between Baró de Viver and Bon Pastor neighbourhoods and between them and the rest of the city. An inclusive public space of residential space and productive space.
The projects propose a base of ideas for a cooperative and participatory work between neighbours and administration searching for urban cohesion in the process of urban regeneration of this area
Research Interests:
The term urban arts is a weak and imprecise concept with many levels of meaning , often incoherent one with each other. Urban Arts, appears first as an anathema and a problem of "control" of the municipal authorities onto an ensemble... more
The term urban arts is a weak and imprecise concept with many levels of meaning , often incoherent one with each other.
Urban Arts, appears first as an anathema and a problem of "control" of the municipal authorities onto an ensemble of “outsider” practices that affect the public space of cities. In
this sense, it appears too like a global trademark that identifies cities where there is a certain permissiveness toward "street arts".
From the perspective of the civic organizations (private, NGO or municipal) the urban arts are placed in the local level (neighbourhoods, communities, ...) indicating "community" or "advocacy" programmes where the artistic mediation can play a role . Lately, they are confused with an emerging sector of the “cultural industries”, of Art, in a context where the boundaries between "public art" and "urban art" are neither precise nor clear.Visual Arts, Dance, Rap, Parkour, Batucada, Music, Writing, Theatre, Kitchen, Grafitty, Sreet art, Media Arts, Guerrilla art .... are some of its contents. But, also, urban planning and urban design.
The issues raised by the "urban arts" are not new. They emerge, first, from boredom (Simmel) inherent in urban life with the consequent need for self-expression and, second, from the grass-root processes based on mutual support that intend to take part in improving the quality of the built environment, of the urbanscape, in the city empowering citizens in the process
of "city making" and decision-making.
Moreover, from a municipal perspective improving the environment responds to the idea "to make a more beautiful city" answering, first, to the jump from the industrial city to the
metropolitan one and, then, in a discontinuous continuity to the different attempts to ordering cities along the twentieth century.
To and fro, refers to the journey into the past arriving in the present. Urban decorum raises the question of What? Who? Where? but especially the How? Urban arts can contribute to an improvement of our cities
Urban Arts, appears first as an anathema and a problem of "control" of the municipal authorities onto an ensemble of “outsider” practices that affect the public space of cities. In
this sense, it appears too like a global trademark that identifies cities where there is a certain permissiveness toward "street arts".
From the perspective of the civic organizations (private, NGO or municipal) the urban arts are placed in the local level (neighbourhoods, communities, ...) indicating "community" or "advocacy" programmes where the artistic mediation can play a role . Lately, they are confused with an emerging sector of the “cultural industries”, of Art, in a context where the boundaries between "public art" and "urban art" are neither precise nor clear.Visual Arts, Dance, Rap, Parkour, Batucada, Music, Writing, Theatre, Kitchen, Grafitty, Sreet art, Media Arts, Guerrilla art .... are some of its contents. But, also, urban planning and urban design.
The issues raised by the "urban arts" are not new. They emerge, first, from boredom (Simmel) inherent in urban life with the consequent need for self-expression and, second, from the grass-root processes based on mutual support that intend to take part in improving the quality of the built environment, of the urbanscape, in the city empowering citizens in the process
of "city making" and decision-making.
Moreover, from a municipal perspective improving the environment responds to the idea "to make a more beautiful city" answering, first, to the jump from the industrial city to the
metropolitan one and, then, in a discontinuous continuity to the different attempts to ordering cities along the twentieth century.
To and fro, refers to the journey into the past arriving in the present. Urban decorum raises the question of What? Who? Where? but especially the How? Urban arts can contribute to an improvement of our cities
Research Interests:
En un momento en que los servicios básicos parecían totalmente cubiertos en la mayoría de municipios, algunos de estos crecimientos (BAJA DENSIDAD) han vuelto a poner de relieve déficits en servicios e infraestructuras que parecían ya... more
En un momento en que los servicios básicos parecían totalmente cubiertos en la mayoría de municipios, algunos de estos crecimientos (BAJA DENSIDAD) han vuelto a poner de relieve déficits en servicios e infraestructuras que parecían ya parte del pasado.
La baja densidad plantea nuevos interrogantes y nuevos retos para la gestión de nuestros municipios.
Problemas de movilidad, de consumo de suelo, de mantenimiento de servicios básicos (luz, agua,
alcantarillado, residuos), de seguridad, de inexistencia o baja calidad del espacio público, de riesgo de incendio, de excesivo consumo energético, de falta de equipamientos… y así una larga lista de nuevas demandas a las que los gobiernos locales, una vez más, deben responder.
La baja densidad plantea nuevos interrogantes y nuevos retos para la gestión de nuestros municipios.
Problemas de movilidad, de consumo de suelo, de mantenimiento de servicios básicos (luz, agua,
alcantarillado, residuos), de seguridad, de inexistencia o baja calidad del espacio público, de riesgo de incendio, de excesivo consumo energético, de falta de equipamientos… y así una larga lista de nuevas demandas a las que los gobiernos locales, una vez más, deben responder.
Research Interests:
Research Interests:
Lecture at "A rua e nossa... é de todos nos". Lisboa. Museo do Design, Lisboa, 2011
Research Interests:
Journal of a Gadabout nr 8, june 2016
Research Interests:
The GAU (Urban Art Gallery) Lisbon, sponsored by the Department of Culture of the city, born in parallel with the “Visual and Performance Street Art” event in 2009. From that moment was consolidated as a temporary gallery of urban art... more
The GAU (Urban Art Gallery) Lisbon, sponsored by the Department of Culture of the city, born in parallel with the “Visual and Performance Street Art” event in 2009.
From that moment was consolidated as a temporary gallery of urban art shows and festivals. It has a location in the Baixada da Gloria, but also operates in various parts of the city, especially acting over disused buildings.
From that moment was consolidated as a temporary gallery of urban art shows and festivals. It has a location in the Baixada da Gloria, but also operates in various parts of the city, especially acting over disused buildings.
Research Interests:
I was preparing my lecture on “New Urban Decorum” the which I had to deliver in Lodz, at the 1st International Symposium “Aesthetic Energy of the City” in September 2014. Was when I discovered the work of a street artist, unknown to me... more
I was preparing my lecture on “New Urban Decorum” the which I had to deliver in Lodz, at the 1st International Symposium “Aesthetic Energy of the City” in September 2014. Was when I discovered the work of a street artist, unknown to me at the moment, and that later I would know is called “Latas (Cans)“. Obvious cans are the basis of his – I don’t know if to say her, but I will continue to say his – work .
I came to being focused on the work by Clet Abraham in Barcelona, and the discovery was most enjoyable.
I came to being focused on the work by Clet Abraham in Barcelona, and the discovery was most enjoyable.
Research Interests:
Inside a hospital institution with a specific structure and several actors, we find a succession of users in which the Patient is the convergence point of a set of relationships. The urgency of treatment transforms the patient into a... more
Inside a hospital institution with a specific structure and several actors, we find a succession of users in which the Patient is the convergence point of a set of relationships. The urgency of treatment transforms the patient into a frequent user of what we call the hospital’s “public space/collective space”, where he goes to fulfill a series of actions that need to be completed easily and space functionality can’t become an obstacle, but welcome and prepare the patient for treatment. Simultaneously, the hospital has several types of users that need a specific space structure, to complete their activities, and that naturally doesn’t have the same particularities of the space occupied or used by the patient. As happens in other public spaces, a good correspondence between form and function is the fundamental element for a good use of the relationship between user and institution. This thesis is focused on the hospital space, specifically the circulation and waiting areas and its goal is to internalize, reflect and apprehend the relationship that exists between space, how it works, its users and communication references, trying to improve these spaces’ habitability through design and public art. It is based on four projects – Instituto Português de Oncologia do Porto, Hospital Joaquim Urbano, Hospital Santa Maria - Porto e Grupo Trofa Saúde – that emerged with the research’s development, theory and practice that followed the entire work process. The development of the four projects consisted on studying each hospital environment in order to define the space’s communication problems and for that, a diagnosis was made, a project was built and implemented alongside the professionals, making an analysis of the results possible. Each project followed its own methodology and had a unique path due to the different needs, interlocutors and institutions. This thesis has three chapters. The first chapter presents the different ways of looking and thinking about the hospital environment. It also deepens the knowledge of some concepts that came up during our practice and that we consider important for the projects’ progress and that allowed for a reflection of the hospital space directed towards finding solutions. The second chapter presents the projects we executed in four institutions. The third chapter presents a reflection based on personal experience that allowed us to develop concepts and ideas that can structure the thinking on hospital environment, driving changes that contradict the depreciation, the abandonment and the stereotypical behaviors that we can find in circulation and waiting areas. Our research allowed us to size the potential of communication design and public art projects in the hospital environment, to learn the origin of this subject, the present need for actions concerned with the hospital’s common spaces and, consequently the users’ well-being, providing a reflection that contributed to thoughts, ideas, considerations and practices that needed to be structured and registered to conclude the work process. We consider that a web has been defined, that can be the starting point for many projects. The certainty that this is an emergent area motivates us to continue our research and to look for solutions for the problems of hospital environment
Research Interests:
Several challenges was currently introduced in urban areas, particularly resulting from strong growth and transformation processes, characteristic of the last decades of the XX century. These transformations gave rise to the emergence of... more
Several challenges was currently introduced in urban areas, particularly resulting from strong growth and transformation processes, characteristic of the last decades of the XX century. These transformations gave rise to the emergence of new urban contexts, often associated with lack of cohesion problems, not only related to morphological fragmentation of urban structures, but also with weaknesses in its social and economic dynamics. In order to better understanding these issues, we study the concept of cohesion. We start from the definition of cohesion introduced by the European Directives, aiming to systematize its application into the urban scale. We propose a systematization of urban cohesion concept supported in a dual dimension - one that involves the physical form of the city and other their socio-economic and socio-cultural dynamics. Therefore, with this investigation we intend to discuss the concept of urban cohesion linked to the role that public space plays in its promotion. We seek to clarify how it is possible to guide urban interventions promoting cohesion, particularly by exploring the potential of public space networks (its dimensions and characteristics). We start from the premise that public spaces are the structuring elements of urban fabric and urban life, organizing themselves in a systemic way; in a multi-scale integration perspective; forming a "network of networks". Intending to contribute to the enhancement of urban cohesion, we propose a methodology, able to analyze cohesion of a public space network. We developed this methodology focusing on the neighborhood scale, but also in its connections to the surrounding networks. We support the work process in the analysis of two territories; two neighborhoods in the city of Barcelona – Barceloneta and Baró de Viver – privileging direct contact with the territory. The analysis of these two territories integrates the concepts’ systematization and it is also used to test and validate the methodology and criteria proposed
Research Interests:
Esta tese trata da incerteza como fator determinante na produção urbana contemporânea, analisando em profundidade a Margem Sul do Tejo. A consolidação da cidade industrial correspondeu à infra-estruturação, capacidade de produção e... more
Esta tese trata da incerteza como fator determinante na produção urbana contemporânea, analisando em profundidade a Margem Sul do Tejo. A consolidação da cidade industrial correspondeu à infra-estruturação, capacidade de produção e ampliação do espaço urbano, baseada na previsão da oferta de serviços urbanos. Foi também a origem disciplinar do urbanismo, como teoria do conhecimento da urbanização e organização da sua prática. Na rotura do modelo industrial e a transição para uma urbanidade pós-industrial, mais plural e extensa, ocorre também uma diversificação e especialização do saber do urbano, por várias áreas de conhecimento. Vários autores nas últimas décadas vêm apontando para o aumento da escala das estruturas urbanas, da sua maior diversidade e da complexidade das dinâmicas de relação entre os atores a elas ligadas. À rápida velocidade de transformação acrescentam-se outros aspectos de conflito ou interação, ligados a instabilidade de ciclos econômicos ou políticos, como alguns dos fatores que contribuem para a percepção de uma menor previsibilidade e maior instabilidade urbana. Estas dinâmicas de transformação da cidade contemporânea, marcadas pela instabilidade e variabilidade dos processos urbanos, são refletidas de inúmeras formas na ação do planeamento e desenho urbano. Assim, o saber urbanístico parece hoje não conseguir responder a estas condicionantes dinâmicas, reduzindo a sua fiabilidade e capacidade para determinar o futuro. Neste contexto, a incerteza tornou-se indispensável como conceito útil para o entendimento da instabilidade. Como conceito transversal aquelas transformações, será essencial considerar como alternativa à menor viabilidade das formas de planear ancoradas em relações de causa-efeito, regras pré-estabelecidas ou “standards” rígidos de desenho. No âmbito das estratégias de desenho cresce a necessidade de gerir fatores, elementos e atores que mudam mais facilmente. Como responder a estas mudanças? A discussão central da investigação, naquele contexto de transição é da dificuldade que a incerteza confere aos processos de desenho e de produção da cidade contemporânea. Assim, propusemo-nos basear numa leitura interdisciplinar de cidade e na análise dos processos da construção e transformação do espaço urbano, desenvolvendo raciocínios estratégicos sobre a incerteza: - No campo teórico, centramo-nos nas transformações da produção da cidade. No estudo das estratégias do planeamento e desenho urbano para intervir na cidade atual, identificamos as lacunas existentes, as condições, práticas e instrumentos relevantes, que levam a uma reflexão aprofundada sobre os conceitos de plano, programa e projeto, em diferentes tempos e contextos e a necessidade de “novos” processos, ferramentas e estratégias. - No campo prático, analisamos a re-estruturação urbana “pós-industrial”, tendo como caso de estudo a Margem Sul do Tejo, na Área Metropolitana de Lisboa. No estudo das emergências e expectativas de transformação, mas também fatores contraditórios de retração e dificuldades, procuramos explicitar os reflexos da incerteza nos processos de transformação do território e formular raciocínios sobre a viabilidade das transformações. Procuramos assim responder a questões de investigação que são de matriz teórico-prática: se a complexidade cresce, que elementos podemos usar para interpretar e intervir nestes espaços, em contextos de incerteza e instabilidade latente? Apresentamos a proposta de uma matriz conceptual e operativa, centrada no princípio da continuidade urbana e baseada nos sistemas urbanos com potencial estruturador do território urbano –a paisagem, a infraestrutura e o espaço público- a partir da sua definição teórica e da sua explicitação no conjunto de espaços ribeirinhos da Margem Sul. Finalmente, uma discussão do papel das escalas e dos modos de aplicação da matriz, numa lógica processual e interdisciplinar da adaptabilidade urbana, permitir-nos-á aprofundar a reflexão sobre a sua relevância, para estruturar a continuidade em intervenções onde a incerteza condiciona a decisão, apoiando-nos numa lógica dos sistemas e “layers” de ação.
Research Interests:
This research tackles the public spaces in the framework of Beirut’s mosaic history, whereby the Middle East constitutes the background and not the context. It will first identify the public spaces by shedding light on their genesis and... more
This research tackles the public spaces in the framework of Beirut’s mosaic history, whereby the Middle East constitutes the background and not the context. It will first identify the public spaces by shedding light on their genesis and tracking their evolution in relation to the city’s urban history. The approach on public spaces history is multi-faceted and interpreted based on a parallelism between the urban morphology, the functional aspect, social practice, and political condition. In the same way, the significance of public spaces is tackled as an intrinsic dimension transcending their physical existence, embodied in history and memory, thus their possible cohesion in the future city plans. Following the study of the relation of public spaces to the urban history, a closer look will be based on the two case studies of Martyr Square and the Waterfront’s transformation across time. The research followed a dual scale reading of the public spaces; a general overview was followed by a closer perspective on the case studies. This bi-fold display highlighted all the complex aspect of the public spaces in their continuities and discontinuities within the city model. The question on public spaces arises in the aftermath of the reconstruction following the civil war years. In a socially and physically traumatized city, studying public spaces will set a reference for the future interventions.
Research Interests:
Inside a hospital institution with a specific structure and several actors, we find a succession of users in which the Patient is the convergence point of a set of relationships. The urgency of treatment transforms the patient into a... more
Inside a hospital institution with a specific structure and several actors, we find a succession of users in which the Patient is the convergence point of a set of relationships. The urgency of treatment transforms the patient into a frequent user of what we call the hospital’s “public space/collective space”, where he goes to fulfill a series of actions that need to be completed easily and space functionality can’t become an obstacle, but welcome and prepare the patient for treatment. Simul­taneously, the hospital has several types of users that need a specific space structure, to complete their activities, and that naturally doesn’t have the same particularities of the space occupied or used by the patient. As happens in other public spaces, a good correspondence between form and function is the fundamental element for a good use of the relationship between user and institution. This thesis is focused on the hospital space, specifically the circulation and waiting areas and its goal is to internalize, reflect and apprehend the relationship that exists between space, how it works, its users and communication references, trying to improve these spaces’ habitability through design and public art. It is based on four projects – Instituto Português de Oncologia do Porto, Hospital Joaquim Urbano, Hospital Santa Maria - Porto e Grupo Trofa Saúde – that emerged with the research’s development, theory and practice that followed the entire work process. The development of the four projects consisted on studying each hospital environment in order to define the space’s communication problems and for that, a diagnosis was made, a project was built and implemented alongside the professionals, making an analysis of the results possible. Each project followed its own methodology and had a unique path due to the different needs, interlocutors and institutions. This thesis has three chapters. The first chapter presents the different ways of looking and thinking about the hospital environment. It also deepens the knowledge of some concepts that came up during our practice and that we consider important for the projects’ progress and that allowed for a reflection of the hospital space directed towards finding solutions. The second chapter presents the projects we executed in four institutions. The third chapter presents a reflection based on personal experience that allowed us to develop concepts and ideas that can structure the thinking on hospital environment, driving changes that contradict the depreciation, the abandonment and the stereotypical behaviors that we can find in circulation and waiting areas. Our research allowed us to size the potential of communication design and public art projects in the hospital environment, to learn the origin of this subject, the present need for actions concerned with the hospital’s common spaces and, consequently the users’ well-being, providing a reflection that contributed to thoughts, ideas, considerations and practices that needed to be structured and registered to conclude the work process. We consider that a web has been defined, that can be the starting point for many projects. The certainty that this is an emergent area motivates us to continue our research and to look for solutions for the problems of hospital environment
Research Interests:
This work directs a watchful gaze at the ground. Regardless of its functional qualities of strength, durability or comfort for the movement, in this research we try to prove how important pavement is for the city and how it can influence... more
This work directs a watchful gaze at the ground. Regardless of its functional qualities of strength, durability or comfort for the movement, in this research we try to prove how important pavement is for the city and how it can influence the creation of the image of the city, concept developed by Kevin Lynch and recently revisited by Pedro Brandão. Five million square meters of panot cover the ground of Barcelona. 2,617 linear km. of granite kerbstones, 18.056 pedestrians’ fords and 25.909 standard fords for vehicles complete the urbanization of the city, demonstrating the potential role of the primary elements of urbanization in the creation of identity of the city, since they define a common and identifiable landscape for both citizens and visitors. Moreover, as we note in Barcelona, paving ad hoc interventions that aim to monumentalize specific locations, or to recreate a unique atmosphere or to evoke the memory of the city, demonstrate the potential of the pavement in building strategies for the identity of places. The ground plane is involved, thus, in enhancing the imageability of these places, by creating iconic images spread by the media in order to promote the international competitiveness of the city, and, it is therefore not surprising that the great international events will be key moments in the transformation of the ground of cities. Finally, the analysis of Lisbon shows us another example in which the pavement is part of the image of the city. Black and white stones, the portuguese calçada, have embellished public spaces of Lisbon since mid-nineteenth century. However, degradation of construction system that has spread across the entire city, presents difficulties for pedestrian accessibility demonstrating its potential obsolescence, despite having qualities associated with the latest ideas about urban sustainability. Latest interventions in this city seek to reinvent the pavement without losing the colour and brightness of the soil so characteristic of the city. However the degradation of the construction system throughout the entire city, presents difficulties for pedestrian accessibility demonstrating its potential obsolescence, despite this constructive system presents qualities associated with the latest ideas about urban sustainability. Latest operations undertaken in Lisbon intend to reinvent the pavement without losing the colour and brightness of the ground so characteristic of the city’s image
Research Interests:
This PhD thesis aims to study the production of public art in the city of Lisbon, in major public promotion housing units that were planned and built in the period between 1945 and 1965: Alvalade, Olivais Norte and Olivais Sul. The work... more
This PhD thesis aims to study the production of public art in the city of Lisbon, in major public promotion housing units that were planned and built in the period between 1945 and 1965: Alvalade, Olivais Norte and Olivais Sul. The work of public art is assumed as an urban fact, part of a plan of shaping the space. Each area is studied from its origin to its consolidated stage under three aspects: The urbanization plan, the process of building and the participation of artists in the production of works of public art The period chosen - the two decades following the end of the Second World Warallows us to appreciate the input and the fading ideals of modern movement ideals in the ways of thinking and building the city. The study of Alvalade, Olivais Norte and Olivais Sul, allows us to monitor the interference of the principles of the Athens Charter, initially limited to small urbanization units [Alvalade], later adopted to the extent of an experimental cell [Olivais Norte] and finally put in place in a large housing estate, but where tensions with other modern currents could already be felt giving way to the first breakthroughs with the document of 1933 [Olivais Sul]. In this process of dissolution of the traditional urban vocabulary and abandonment of the official models imposed by the regime since the early 1940s, the main objective of the thesis is to understand how the public art adapted itself to public buildings and spaces of absolutely new configurations, generated by the application of these new paradigms and aesthetic formulations. It is also to understand with what intent the work of the public art was being called to mark the city space. This thesis concerns an often overlooked artistic production: the public art that accompanies modern architecture and urbanism. In spite of being exclusively limited to the Lisbon examples it also rehearses an exploratory approach to the production of the public art to the universe of social housing, which had great relevance in the context of the post Second War and subsequent decades. Having in mind that to modern architects and urbanists housing had been the subject of election and doctrinal demarcation since the beginning of the twentieth century, it was also a field that captivated socially engaged artists from various aesthetic and political lines, who had a common intention of approaching the space of the ordinary citizen. This thesis moves between several subject areas. Besides appreciating public art in its architectural and urban context, because it fits conceptually the approach proposed by Cer Polis, the author adapts the methodology of oral history as a way to redeem part of the necessary information to write the thesis
Research Interests:
The research undertaken in this doctoral thesis examines the existing challenges in public art and the configuration of public spaces in present day Peru. The motivation to look into this issue arose from the detachment between local... more
The research undertaken in this doctoral thesis examines the existing challenges in public art and the configuration of public spaces in present day Peru.
The motivation to look into this issue arose from the detachment between local public art production and current international tendencies as well as the disregard for local cultural legacy. This condition not only fails to make use of the principles of the cultural legacy but also is unable to use them in public space situations where they are sought.
After studying artistic expressions and the configuration of public spaces in this country, we find conceptual as well as methodological predicaments. The patent needs to integrate the notions and functions of contemporary public art become evident and also the conceptual reinterpretation of pre-Columbian spatiality as regards modelling of the landscape.
A central aim of this study is to contribute with specific guidelines concerning coherent practises in public art, which will enable local policy to incorporate contemporary public art in the design of Peruvian public spaces.
In order to cover such an extensive theme, the research has been projected employing an interdisciplinary approach covering diverse cultural references and probing such principles that while retaining their contemporariness are close to our own cultural tradition. Attention has been placed on contemporary art in particular the Land Art of the 1960s and its relation between work of art and context. This opens up to a spatiality, which intermixes landscape and architecture and which shifts its meaning from the object and what it represents to the natural and cultural dichotomy. Many of these concerns are to be found in the urban landscape such as in spatial works, sculpture parks, contemporary gardens that face artists with the conditions of the urban public space.
The concept of public art has been developed and in this process, the experiences and practises of city arts programmes, has been fundamental. In this respect we have analysed the criteria, which has conducted the permanent inclusion of public art in the city of Barcelona since the 1980s.
Within the local context, we have analysed the configuration of the Peruvian landscape, from the moulding of the pre-Columbian terrain, its links between work of art and landscape and its links with contemporary arts. We have come to the conclusion that these principles have been lost in the make up of contemporary public spaces but remain, unconsciously in rural utilitarian circumstances.
We have analysed contemporary tendencies in the configuration of public spaces in the mainstream as well as in the unofficial manifestation and also the pre-Columbian influence in Peruvian public art.
The analysis, relation and contrasting of all these themes have been fundamental in the generation of guidelines for Peruvian public art, presenting as a central idea, the convergence of contemporary values in spatiality and the Peruvian landscape
The motivation to look into this issue arose from the detachment between local public art production and current international tendencies as well as the disregard for local cultural legacy. This condition not only fails to make use of the principles of the cultural legacy but also is unable to use them in public space situations where they are sought.
After studying artistic expressions and the configuration of public spaces in this country, we find conceptual as well as methodological predicaments. The patent needs to integrate the notions and functions of contemporary public art become evident and also the conceptual reinterpretation of pre-Columbian spatiality as regards modelling of the landscape.
A central aim of this study is to contribute with specific guidelines concerning coherent practises in public art, which will enable local policy to incorporate contemporary public art in the design of Peruvian public spaces.
In order to cover such an extensive theme, the research has been projected employing an interdisciplinary approach covering diverse cultural references and probing such principles that while retaining their contemporariness are close to our own cultural tradition. Attention has been placed on contemporary art in particular the Land Art of the 1960s and its relation between work of art and context. This opens up to a spatiality, which intermixes landscape and architecture and which shifts its meaning from the object and what it represents to the natural and cultural dichotomy. Many of these concerns are to be found in the urban landscape such as in spatial works, sculpture parks, contemporary gardens that face artists with the conditions of the urban public space.
The concept of public art has been developed and in this process, the experiences and practises of city arts programmes, has been fundamental. In this respect we have analysed the criteria, which has conducted the permanent inclusion of public art in the city of Barcelona since the 1980s.
Within the local context, we have analysed the configuration of the Peruvian landscape, from the moulding of the pre-Columbian terrain, its links between work of art and landscape and its links with contemporary arts. We have come to the conclusion that these principles have been lost in the make up of contemporary public spaces but remain, unconsciously in rural utilitarian circumstances.
We have analysed contemporary tendencies in the configuration of public spaces in the mainstream as well as in the unofficial manifestation and also the pre-Columbian influence in Peruvian public art.
The analysis, relation and contrasting of all these themes have been fundamental in the generation of guidelines for Peruvian public art, presenting as a central idea, the convergence of contemporary values in spatiality and the Peruvian landscape
Research Interests:
The scientific and technological advances, especially those associated with computing and communications, have globalized economies and internationalized markets, in which there is currently more supply than demand. This new 21ts century... more
The scientific and technological advances, especially those associated with computing and communications, have globalized economies and internationalized markets, in which there is currently more supply than demand. This new 21ts century scenario has influenced companies in the manufacturing sector, which are poised to generate products with distinguishing attributes that give them a competitive advantage, especially in design and innovation, and that clients and users value. Consequently, this scenario has obliged companies to implement efficient organization and management systems and to incorporate product generation processes focused on competitive factors. In light of this new situation, companies now view product creation as a strategic factor of the highest order. They believe that having a good idea or concept will lead, through an organized and effective process, to achieving the final goal: new products that offer competitive advantages. Some manufacturing sectors have been eager to optimize established processes and adapt them to their needs, especially in areas related to product development. Over the last decade the street furniture sector has experienced rapid unplanned growth, parallel to the expansion of the property market. Recently, with the onset of the economic crisis, the sector has had to become more competitive, especially through the promotion of product development strategies that incorporate innovation and design factors and optimize the project process. This is required to reduce costs and investments, development times and uncertainty. For these reasons, we believe it is the right time to introduce new processes that will lead to improved competitiveness in the sector. This thesis will focus on SMEs in the street furniture sector to define a product development model that promotes innovation, contributes to project activity and increases competitiveness. The research was focused on different fields to better investigate the complexity of product generation processes, looking at interactions, especially within markets, technology and manufacturing in companies, and taking into account the competitive factors of design and innovation. It is hoped that the thesis will contribute valuable knowledge, and that it will be a reference for designers, engineers and product managers involved in project activity. It is also hoped that it will become a tool to help SMEs in the sector achieve the product development standards of other sectors
Research Interests:
The subject of this dissertation is Lima's public art and its relationship with the processes of "city making", during the period 1919-1930. In this dissertation, the author identifies the government of Augusto B. Leguía (1919 - 1930),... more
The subject of this dissertation is Lima's public art and its relationship with the processes of "city making", during the period 1919-1930.
In this dissertation, the author identifies the government of Augusto B. Leguía (1919 - 1930), called also the Oncenio, as a key moment in the republican history of Peru, when there was a rational, harmonious and functional proposal of development of the city of Lima. Starting in 1866, when the city walls were demolished, the author analyzes successive modernizing urban proposals up to 1919. The political and economic ideas that support the scheme of the "Patria Nueva" are the basis of an urban design and production of artistic and sculptural landscape, concentrated mostly in the style called "Neo-Peruvian".
The author includes a detailed record of spaces and monuments, parks, plazas, malls, streets, built in the Oncenio in public spaces, analyzing trends, styles, and contexts in the city and its surroundings. The relevance of the research goes beyond the covering historic research gaps, in its search of the achievements and contradictions of this project, in order to raise questions about the urban future of Lima.
In this dissertation, the author identifies the government of Augusto B. Leguía (1919 - 1930), called also the Oncenio, as a key moment in the republican history of Peru, when there was a rational, harmonious and functional proposal of development of the city of Lima. Starting in 1866, when the city walls were demolished, the author analyzes successive modernizing urban proposals up to 1919. The political and economic ideas that support the scheme of the "Patria Nueva" are the basis of an urban design and production of artistic and sculptural landscape, concentrated mostly in the style called "Neo-Peruvian".
The author includes a detailed record of spaces and monuments, parks, plazas, malls, streets, built in the Oncenio in public spaces, analyzing trends, styles, and contexts in the city and its surroundings. The relevance of the research goes beyond the covering historic research gaps, in its search of the achievements and contradictions of this project, in order to raise questions about the urban future of Lima.
Research Interests:
This study investigates the processes of design suitable to the eco-design of streetlights, which can also contribute to the sustainability of urban public spaces in general. The research conducted reveals the need for theoretical and... more
This study investigates the processes of design suitable to the eco-design of streetlights, which can also contribute to the sustainability of urban public spaces in general.
The research conducted reveals the need for theoretical and practical approaches to assist decision making within a methodological perspective for developing products for the urban public space. In this sense, this work aims to contribute to this problem through a theoretical model that organizes the eco-design criteria and strategies, and helps in understanding the relationship of the object with its local context.
The work is organized in two parts. The first one performs a literature review of the three theoretical frames of reference - street furniture and public space, street lighting design and, design and environment - that will help to build up the representation of the relationship between these three areas. The design methodology for developing industrial products is linked to eco-design methods of incorporating environmental criteria in the design process and to the procedures to appraise the local contexts The second part embodies the theoretical concepts studied, in the creation of a theoretical model - conceptual matrix - and its practical application, through software that calculates the environmental load of products and through a case study of a Lisbon's district. The results show the ability of the conceptual matrix to support decision making throughout the project's development of a streetlight, as well as in structuring the integration of eco-design criteria and strategies, and in the perception of the liaison of the object with its surroundings.
The conceptual matrix presented seeks to enable the creation of solutions for designing environmentally responsible streetlights, able to better fit local needs in certain specific physical and social contexts.
The research conducted reveals the need for theoretical and practical approaches to assist decision making within a methodological perspective for developing products for the urban public space. In this sense, this work aims to contribute to this problem through a theoretical model that organizes the eco-design criteria and strategies, and helps in understanding the relationship of the object with its local context.
The work is organized in two parts. The first one performs a literature review of the three theoretical frames of reference - street furniture and public space, street lighting design and, design and environment - that will help to build up the representation of the relationship between these three areas. The design methodology for developing industrial products is linked to eco-design methods of incorporating environmental criteria in the design process and to the procedures to appraise the local contexts The second part embodies the theoretical concepts studied, in the creation of a theoretical model - conceptual matrix - and its practical application, through software that calculates the environmental load of products and through a case study of a Lisbon's district. The results show the ability of the conceptual matrix to support decision making throughout the project's development of a streetlight, as well as in structuring the integration of eco-design criteria and strategies, and in the perception of the liaison of the object with its surroundings.
The conceptual matrix presented seeks to enable the creation of solutions for designing environmentally responsible streetlights, able to better fit local needs in certain specific physical and social contexts.
Research Interests:
"THE PUBLIC SPACE IN THE HISTORICAL TOWN CENTRE OF PUEBLA (MEXICO)". TEXT: The historical city of Puebla (Mexico) foundation developed in the first third of Century XVI it underlines its orthogonal laid out with an area of 6.9 km2. In... more
"THE PUBLIC SPACE IN THE HISTORICAL TOWN CENTRE OF PUEBLA (MEXICO)".
TEXT:
The historical city of Puebla (Mexico) foundation developed in the first third of Century XVI it underlines its orthogonal laid out with an area of 6.9 km2. In this investigation it is evaluated the public space through the established methodology, since in spite of it is the site for the most important social activities carried out in the city, is one of the most vulnerable for the absence and not application of urban, architectonic, social and patrimonial politics that contribute to an integral influence. The behavior is variable in spite of we are talking about a city taken as Cultural Patrimony of Humanity (UNESCO).
This analysis is from different points of view with the purpose of giving a real idea about what this public space means, in order to give a testimony about what is happening to it, spread its wealth, as well as its lack of attention, besides to let know all of them that are not in the official lists and however they exist, reason for which it is planned typology that include to other that diversify the traditional concept and that are located in the antique city: residual spaces, porticos, bridges, ephemeral spaces, among others.
The study of the public space is carried out from different points that are considered basic, indispensable in this doctoral research that let us know what is the open public space in a Mexican city as Puebla through of: a) its evolution, b) uses of the space, c) public art, d) urban furniture, with the intention of giving a testimony of that containing, of what happens in the contemporary public space but also about the one that precede it.
In the same way is pointed out in the e) weaknesses that contribute to visualize the necessity of expositions of ambitious rehabilitations that minimize the processes of gentrification of adoption bourgeois way of life, decentralize actions of any nature, based on fundamental elements regarding to the garden or to the main square, the pedestrian area and the residual space in order to improve and increase them.
The historical town centre is diverse and complex, for this reason it requires for special attention about every one of the areas that are part of it, the public space must be considered a part of the patrimony because it gives to us a knowledge of the antique city, it has a very important symbolic and historic part that should be protected.
TEXT:
The historical city of Puebla (Mexico) foundation developed in the first third of Century XVI it underlines its orthogonal laid out with an area of 6.9 km2. In this investigation it is evaluated the public space through the established methodology, since in spite of it is the site for the most important social activities carried out in the city, is one of the most vulnerable for the absence and not application of urban, architectonic, social and patrimonial politics that contribute to an integral influence. The behavior is variable in spite of we are talking about a city taken as Cultural Patrimony of Humanity (UNESCO).
This analysis is from different points of view with the purpose of giving a real idea about what this public space means, in order to give a testimony about what is happening to it, spread its wealth, as well as its lack of attention, besides to let know all of them that are not in the official lists and however they exist, reason for which it is planned typology that include to other that diversify the traditional concept and that are located in the antique city: residual spaces, porticos, bridges, ephemeral spaces, among others.
The study of the public space is carried out from different points that are considered basic, indispensable in this doctoral research that let us know what is the open public space in a Mexican city as Puebla through of: a) its evolution, b) uses of the space, c) public art, d) urban furniture, with the intention of giving a testimony of that containing, of what happens in the contemporary public space but also about the one that precede it.
In the same way is pointed out in the e) weaknesses that contribute to visualize the necessity of expositions of ambitious rehabilitations that minimize the processes of gentrification of adoption bourgeois way of life, decentralize actions of any nature, based on fundamental elements regarding to the garden or to the main square, the pedestrian area and the residual space in order to improve and increase them.
The historical town centre is diverse and complex, for this reason it requires for special attention about every one of the areas that are part of it, the public space must be considered a part of the patrimony because it gives to us a knowledge of the antique city, it has a very important symbolic and historic part that should be protected.
Research Interests:
Public Art of Central and Local Administration of the New State in Lisbon: Systems of public art orders of Lisbon City Council and of the Ministry of Public Works (1938-1960) Much of the public art of the New State were mainly statues and... more
Public Art of Central and Local Administration of the New State in Lisbon: Systems of public art orders of Lisbon City Council and of the Ministry of Public Works (1938-1960) Much of the public art of the New State were mainly statues and monuments which were produced to represent images of the nation historical past. Sculpture was then the suitable artistic expression to portray such nationalist subjects into public spaces all over the country. In Lisbon, the Ministry of the Public Works and the City Council had a specific budget for public art orders, as in many totalitarian or democratic states promoting Public Works of Arts project funding. Public art orders were conducted, within the framework of Local and Central Administration, through sets of procedures meant to control and standardize it accordingly to the political and ideological speech of the New State. These sets of procedures are named in this thesis as systems of public art orders. They were promoted by advisory boards and aesthetical commissions whose role was to ensure homogeneity of public orders. Based on these systems of public art orders, Local and Central Administration not only promoted orders for monuments, statuary and decorative motifs but managed to prevent any kind of state initiatives not aligned with the political regime. Oliveira Salazar effectively overviewed the procedures inherent to the systems of public art. He was able to interfere at every level in the procedures, stir out of course or simply halt the orders of monuments and statues. Key-words: systems of public art orders, New State, Lisbon
Research Interests:
Ethics and Urban Design Professions - Conviction, Responsibility, and Interdisciplinarity, Lines of Professional Identity in Urban Design". Text: Ethics in the professions involved in city form-giving is a complex and sometimes... more
Ethics and Urban Design Professions - Conviction, Responsibility, and Interdisciplinarity, Lines of Professional Identity in Urban Design".
Text:
Ethics in the professions involved in city form-giving is a complex and sometimes misleading theme. This thesis focuses its analysis on it, with three main goals; First to formulate a question - about the crisis of dominant professional paradigms in the present context of mutations, both urban and professional, that evidence the weaknesses, dilemmas and contradictions of professional identity in the domains of design; Then, as to transform the question into a theoretical problem, focusing the foudation of professional ethics upon responsibility and beliefs, in a context of competitiveness and internationalization of professional practice; and finally, as to formulate the final product of the thesis, a new operative model of interdisciplinarity, alternative to the model of knowledge and practice specialization, in the emergent field of urban design.
The thesis incorporates as a " Book 2", the result of an antecedent research project accomplished by 2003 for obtaining the degree of DEA (diploma of advanced studies and investigating sufficiency) - the study case of architectural profession, with reference to the History of Profession and the analysis of its regulation in Europe, introducing the critics of protectionist " traditional - liberal - profession" paradigms .
In the final thesis, three different methodologies were proceeded; the evaluation, the theory, the discussion:
- Evaluation, is systemical - the design professional responsibilities are discussed facing the social context of several parteners intervening in urban form construction and professional identity no longer considered as a paradigm or an unique model, but built through: a) the productive structures and roles in urban form giving, b) the system of responsibility and liability regulation, and c) the cultural legibility of professionalism and professional missions;
- The theoretical speech, is centered in the " discovery " of an ethics of urban domain (the ethical matrix of public space), and of interdisciplinarity (a reflexive practice, of new professionalism). The central concept here is professional interactivity, understood as the logics of cooperation, of knowledge integration, and of opening to "the other". That is to say, design speech having its startingpoint not from the author itself (the "solipsism" of artistic responsibility) but from the addressee (alterocentered design, as a process of "form giving", that starts before the author and finishes after him, meeting with life, that transforms designed form);
- In the discussion, third methodological stage, the critics of paradigmatical historicist beliefs about urban form (the moralizing value given to the representations of past, or of future), and a case study about professionals' beliefs, are presented. Looking at the professional practices in Lisbon Expo98 project, some decision-making processes and problematic design-policy situations are briefed. The emergent subject of design in the "enlarged city" (extensive, diffuse, generic city...) is placed in the centerpoint of the discussion - the "foundation of urbanity" and the ethical conditions requested for that porpous, the "cause of peripheries".
The conclusions that could be eventualy interesting to institutions linked to urban design and professional responsibilities, may include: a reflexive theory on ethics in professional and political urban field. Having offered a panorama of diferent disciplinarity aproaches, some specific proposals for contents and methodologies of an interdisciplinarity promoting "démarche" are made. It is a discussion that today should be deepened at European level, so much in the professional and educational environment, as in urban policy-making about public space design process in the enlarged "city" .
The diversification of knowledge and professional practice, requires an aditional flexibility of professional education and training opening it to interdisciplinarity.
"The city is not a subject for one alone profession, but none of them diminishes itself in collaboration"
Text:
Ethics in the professions involved in city form-giving is a complex and sometimes misleading theme. This thesis focuses its analysis on it, with three main goals; First to formulate a question - about the crisis of dominant professional paradigms in the present context of mutations, both urban and professional, that evidence the weaknesses, dilemmas and contradictions of professional identity in the domains of design; Then, as to transform the question into a theoretical problem, focusing the foudation of professional ethics upon responsibility and beliefs, in a context of competitiveness and internationalization of professional practice; and finally, as to formulate the final product of the thesis, a new operative model of interdisciplinarity, alternative to the model of knowledge and practice specialization, in the emergent field of urban design.
The thesis incorporates as a " Book 2", the result of an antecedent research project accomplished by 2003 for obtaining the degree of DEA (diploma of advanced studies and investigating sufficiency) - the study case of architectural profession, with reference to the History of Profession and the analysis of its regulation in Europe, introducing the critics of protectionist " traditional - liberal - profession" paradigms .
In the final thesis, three different methodologies were proceeded; the evaluation, the theory, the discussion:
- Evaluation, is systemical - the design professional responsibilities are discussed facing the social context of several parteners intervening in urban form construction and professional identity no longer considered as a paradigm or an unique model, but built through: a) the productive structures and roles in urban form giving, b) the system of responsibility and liability regulation, and c) the cultural legibility of professionalism and professional missions;
- The theoretical speech, is centered in the " discovery " of an ethics of urban domain (the ethical matrix of public space), and of interdisciplinarity (a reflexive practice, of new professionalism). The central concept here is professional interactivity, understood as the logics of cooperation, of knowledge integration, and of opening to "the other". That is to say, design speech having its startingpoint not from the author itself (the "solipsism" of artistic responsibility) but from the addressee (alterocentered design, as a process of "form giving", that starts before the author and finishes after him, meeting with life, that transforms designed form);
- In the discussion, third methodological stage, the critics of paradigmatical historicist beliefs about urban form (the moralizing value given to the representations of past, or of future), and a case study about professionals' beliefs, are presented. Looking at the professional practices in Lisbon Expo98 project, some decision-making processes and problematic design-policy situations are briefed. The emergent subject of design in the "enlarged city" (extensive, diffuse, generic city...) is placed in the centerpoint of the discussion - the "foundation of urbanity" and the ethical conditions requested for that porpous, the "cause of peripheries".
The conclusions that could be eventualy interesting to institutions linked to urban design and professional responsibilities, may include: a reflexive theory on ethics in professional and political urban field. Having offered a panorama of diferent disciplinarity aproaches, some specific proposals for contents and methodologies of an interdisciplinarity promoting "démarche" are made. It is a discussion that today should be deepened at European level, so much in the professional and educational environment, as in urban policy-making about public space design process in the enlarged "city" .
The diversification of knowledge and professional practice, requires an aditional flexibility of professional education and training opening it to interdisciplinarity.
"The city is not a subject for one alone profession, but none of them diminishes itself in collaboration"
Research Interests:
The basic notions in this doctoral dissertation arise from looking upon the body as the site for artistic research and creativity. Specifically, such an analysis is deduced from the point of view of female artists, and from the... more
The basic notions in this doctoral dissertation arise from looking upon the body as the site for artistic research and creativity. Specifically, such an analysis is deduced from the point of view of female artists, and from the presentation and/or representation of the female body in terms that are peculiar or closely related to sculpture and Public Art.
The pretext for this research plan comes down to considering female artists and female bodies as entities capable of behaving with creativity, in order to gain access into the social fabric and so influence society.
This dissertation therefore introduces some creative works by female artists, which can be defined as "public body", and they allow demonstration of how, by means of art, the body presents itself as a collective and socially useful resource
The pretext for this research plan comes down to considering female artists and female bodies as entities capable of behaving with creativity, in order to gain access into the social fabric and so influence society.
This dissertation therefore introduces some creative works by female artists, which can be defined as "public body", and they allow demonstration of how, by means of art, the body presents itself as a collective and socially useful resource
Research Interests:
COHESIÓN URBANA. Bon Pastor - Baró de Viver. Proyectos para la mejora de la conectividad urbana EXHIBITION works of the M.A. in Urban Design (UB) held during the 2nd. CITIES. International COnference on CITIES of XXIst Century. barcelona... more
COHESIÓN URBANA. Bon Pastor - Baró de Viver. Proyectos para la mejora de la conectividad urbana EXHIBITION works of the M.A. in Urban Design (UB) held during the 2nd. CITIES. International COnference on CITIES of XXIst Century. barcelona 15- 19 sep.2015 Las políticas de empleo y de servicios sociales no bastan para impulsar la cohesión urbana de un territorio. El simple diseño de partes del territorio no bastan para concretar la cohesión urbana. Ni lo uno ni lo otro. Ambos dos, si queremos evitar que el territorio tienda a la segregación social; si no queremos que el territorio se degrade por más urbanismo táctico que empleemos. Los trabajos parten de esta idea aunque, como resultado de un Master en Diseño Urbano, prioricen el "hacer ciudad", el diseño y la construcción del espacio público que posibilitará la integración territorial; un espacio público que se convertirá en garante de la visibilidad, de la accesibilidad y de la conectividad entre los barrios de Baró de Viver y de Bon Pastor y de ellos con el resto de la ciudad. Un espacio público integrador del espacio residencial y del espacio productivo. Los proyectos proponen una base de ideas para que el trabajo cooperativo y participativo entre vecinos y administración consiga la cohesión urbana dentro del proceso de regeneración urbana de este territorio.
Research Interests:
La Ruta de la Memòria de les Corts a Barcelona proposa un recorregut urbà per 13 localitzacions del districte: edificis, monuments, entorns urbans fortament identificats amb esdeveniments històrics del període de la IIª República... more
La Ruta de la Memòria de les Corts a Barcelona proposa un recorregut urbà per 13 localitzacions del districte: edificis, monuments, entorns urbans fortament identificats amb esdeveniments històrics del període de la IIª República Espanyola, de la Guerra Civil i de la dictadura Franquista.
També es proposen tres projectes d’idees per a espais “sense memòria” on s’han dut a terme enderrocaments de monuments franquistes i es percep un fort dèficit d’espai públic. Aquest és el cas dels indrets on s’alçaven els antics monuments a Jose Antonio i Als Caiguts. El tercer projecte identifica la desapareguda Presó de Dones de les Corts. Es tracta d’un lloc amb una forta història social i humana de repressió franquista, avui invisible en el paisatge urbà de la ciutat.
També es proposen tres projectes d’idees per a espais “sense memòria” on s’han dut a terme enderrocaments de monuments franquistes i es percep un fort dèficit d’espai públic. Aquest és el cas dels indrets on s’alçaven els antics monuments a Jose Antonio i Als Caiguts. El tercer projecte identifica la desapareguda Presó de Dones de les Corts. Es tracta d’un lloc amb una forta història social i humana de repressió franquista, avui invisible en el paisatge urbà de la ciutat.
Research Interests:
A. REMESAR- N. RICART ART, CITY, SOCIETY. Art for All, Art with everyone Art by all, collects the projects developed by the Polis Research Centre, Research Group Art, City, Society at the University of Barcelona. The Board of... more
A. REMESAR- N. RICART
ART, CITY, SOCIETY. Art for All, Art with everyone Art by all, collects the projects developed by the Polis Research Centre, Research Group Art, City, Society at the University of Barcelona.
The Board of Governors of the University of Barcelona created POLIS Research Centre
in July 1999. Since then it has developed
its research in the areas of Public Art, Urban Design, but mostly has excelled in developing an original vision of the role of the possibilities of art in urban regeneration
processes.
In this sense, the Centre has been a pioneer
in the development of creative strategies
for citizen participation that can be encompassed
by this label, so trendy, which is that of governance.
The Centre has developed its production
under different competitive research projects and various contracts with local governments. This work has been central in structuring both the Master in Urban Design: Art, City, Society and the doctoral programme Public Space and Urban Regeneration:
Art, Theory and Heritage Conservation
ART, CITY, SOCIETY. Art for All, Art with everyone Art by all, collects the projects developed by the Polis Research Centre, Research Group Art, City, Society at the University of Barcelona.
The Board of Governors of the University of Barcelona created POLIS Research Centre
in July 1999. Since then it has developed
its research in the areas of Public Art, Urban Design, but mostly has excelled in developing an original vision of the role of the possibilities of art in urban regeneration
processes.
In this sense, the Centre has been a pioneer
in the development of creative strategies
for citizen participation that can be encompassed
by this label, so trendy, which is that of governance.
The Centre has developed its production
under different competitive research projects and various contracts with local governments. This work has been central in structuring both the Master in Urban Design: Art, City, Society and the doctoral programme Public Space and Urban Regeneration:
Art, Theory and Heritage Conservation
Research Interests:
“En los márgenes” es una exposición acerca de dos barrios, acerca de dos ciudades, posiblemente acerca de los países. Barrio Amerelo, Almada, Lisboa, Portugal. Baró de Viver, Barcelona, Catalunya. Es una exposición acerca de las... more
“En los márgenes” es una exposición acerca de dos barrios, acerca de dos ciudades, posiblemente acerca de los países. Barrio Amerelo, Almada, Lisboa, Portugal. Baró de Viver, Barcelona, Catalunya.
Es una exposición acerca de las periferias, aunque actualmente no esté bien visto utilizar este concepto, pero negar la historia siempre se ha demostrado un error.
Es la historia de dos periferias. El bairro Amarelo, periferia de Almada, Almada periferia de Lisboa, ciudad central y capital, pero al mismo tiempo periferia Europea. Baró de Viver, periferia de Barcelona, capital de una nación sin Estado, Catalunya, periferia de un Estado centralizador.
Son dos historias de dos territorios distintos, tanto por lo referente a su evolución morfológica, como a su evolución económica, social, residencial.
Pero son dos historias que se parecen. Ambas hablan de la lucha organizada de unos vecinos que quieren mejorar su entorno y sus condiciones de existencia y que son capaces de superar las iniciales etapas reivindicativas para entrar en diálogo con unas administraciones locales que, a su vez, son capaces de escuchar y de hacer suyas las reivindicaciones, quejas, ansias, deseos del barrio.
Son dos historias parecidas que nos hablan acerca de la superación de etapas para conseguir los logros previstos. Nos cuentan la superación del miedo a la represión en épocas de la dictadura, pero también la superación de las trabas burocráticas que impiden, muchas veces, conseguir estos logros.
Las dos historias se parecen porqué son historias repletas de recuerdos, de hechos vividos, de hechos compartidos.
Las dos historias se parecen porqué nos hablan de la lucha por la identidad, de una identidad barrial que quiere ser en una identidad mayor, la de su ciudad. De una identidad que busca la convergencia, la visibilidad, la accesibilidad, el compartir el barrio con el resto de los barrios. De una identidad que quiere “ser en otro”, la ciudad, que quiere ser como los otros, pero que no renuncia a sus señas propias.
La exposición nos habla también de la importancia de la cooperación institucional y de su articulación mediante redes de trabajo. En Almada el Ayuntamiento, en Barcelona la Universidad. En Almada, un Museo de Historia que es capaz de manejar la historia próxima y cotidiana. En Barcelona, un equipo de investigación que entiende que la transferencia de conocimiento no debe limitarse al terreno de la empresa, que entiende que la Institución tiene obligaciones con la sociedad que la sustenta y que por ello debe transferir el conocimiento directamente a esta sociedad.
Es una exposición que nos habla directamente de nosotros mismos
Es una exposición acerca de las periferias, aunque actualmente no esté bien visto utilizar este concepto, pero negar la historia siempre se ha demostrado un error.
Es la historia de dos periferias. El bairro Amarelo, periferia de Almada, Almada periferia de Lisboa, ciudad central y capital, pero al mismo tiempo periferia Europea. Baró de Viver, periferia de Barcelona, capital de una nación sin Estado, Catalunya, periferia de un Estado centralizador.
Son dos historias de dos territorios distintos, tanto por lo referente a su evolución morfológica, como a su evolución económica, social, residencial.
Pero son dos historias que se parecen. Ambas hablan de la lucha organizada de unos vecinos que quieren mejorar su entorno y sus condiciones de existencia y que son capaces de superar las iniciales etapas reivindicativas para entrar en diálogo con unas administraciones locales que, a su vez, son capaces de escuchar y de hacer suyas las reivindicaciones, quejas, ansias, deseos del barrio.
Son dos historias parecidas que nos hablan acerca de la superación de etapas para conseguir los logros previstos. Nos cuentan la superación del miedo a la represión en épocas de la dictadura, pero también la superación de las trabas burocráticas que impiden, muchas veces, conseguir estos logros.
Las dos historias se parecen porqué son historias repletas de recuerdos, de hechos vividos, de hechos compartidos.
Las dos historias se parecen porqué nos hablan de la lucha por la identidad, de una identidad barrial que quiere ser en una identidad mayor, la de su ciudad. De una identidad que busca la convergencia, la visibilidad, la accesibilidad, el compartir el barrio con el resto de los barrios. De una identidad que quiere “ser en otro”, la ciudad, que quiere ser como los otros, pero que no renuncia a sus señas propias.
La exposición nos habla también de la importancia de la cooperación institucional y de su articulación mediante redes de trabajo. En Almada el Ayuntamiento, en Barcelona la Universidad. En Almada, un Museo de Historia que es capaz de manejar la historia próxima y cotidiana. En Barcelona, un equipo de investigación que entiende que la transferencia de conocimiento no debe limitarse al terreno de la empresa, que entiende que la Institución tiene obligaciones con la sociedad que la sustenta y que por ello debe transferir el conocimiento directamente a esta sociedad.
Es una exposición que nos habla directamente de nosotros mismos
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La exposició narra la història de Baró de Viver a través de les imatges que els veïns i veïnes del barri han aportat per crear el Mural de la Memòria, situat sobre les pantalles acústiques del Passeig de Santa Coloma. El Mural de la... more
La exposició narra la història de Baró de Viver a través de les imatges que els veïns i veïnes del barri han aportat per crear el Mural de la Memòria, situat sobre les pantalles acústiques del Passeig de Santa Coloma.
El Mural de la Memòria sorgeix d’un procés participatiu, iniciat el 2004, centrat en la millora dels espais públics del barri en el context dels diversos processos de regeneració urbana desenvolupats a instància dels veïns i veïnes per l’Ajuntament de Barcelona (PAM 2008-2011) i la Generalitat de Catalunya (Llei de Barris).
El Mural de la Memòria sorgeix d’un procés participatiu, iniciat el 2004, centrat en la millora dels espais públics del barri en el context dels diversos processos de regeneració urbana desenvolupats a instància dels veïns i veïnes per l’Ajuntament de Barcelona (PAM 2008-2011) i la Generalitat de Catalunya (Llei de Barris).
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En los últimos años la presencia mediática de las impresoras 3D ha ido creciendo exponencialmente. Han aparecido FABcafés en los que se puede combinar la actividad de restauración con la fabricación digital de pequeños objetos generados... more
En los últimos años la presencia mediática de las impresoras 3D ha ido creciendo exponencialmente. Han aparecido FABcafés en los que se puede combinar la actividad de restauración con la fabricación digital de pequeños objetos generados en el ordenador; existe la oferta " DIY " (Do it yourself) para fabricar tu propia impresora 3D a unos precios relativamente módicos; por último, en todos los rincones del planeta, han ido apareciendo los FAB LABS. Los FAB LABS, son una franquicia del MIT (Massachussets Institute of Technology), Center for Bits and Atoms, que operan en red global y que tiene por objetivo el desarrollo y formación en Fabricación Digital, especialmente en el campo
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Proposta presentada pel centre de recerca Polis de la Universitat de Barcelona, grup de recerca consolidat Art, Ciutat, Societat com a conclusió del projecte Cartografies de La Mina, realitzat entre 2002 - 2005 en base a diversos tallers... more
Proposta presentada pel centre de recerca Polis de la Universitat de Barcelona, grup de recerca consolidat Art, Ciutat, Societat com a conclusió del projecte Cartografies de La Mina, realitzat entre 2002 - 2005 en base a diversos tallers de Participació Ciutadana, seguint la metodologia de les CPBoxes (Caixes d’Acotacions i Tendències) desenvolupada per aquest centre de recerca i en el marc del conveni de col·laboració entre el centre i el Consorci de La Mina
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SUMMARY This work explores some popular practices in the transformation of the public space of the city. The work starts from the idea already formulated by Cerdà that the street and the building are part of a conceptual pair that goes... more
SUMMARY This work explores some popular practices in the transformation of the public space of the city. The work starts from the idea already formulated by Cerdà that the street and the building are part of a conceptual pair that goes back to each other. In this sense, the paper argues that in a contemporary city, the practice of popular architecture as construction, is limited by the current urban and legal conditions. However, the work demonstrates that other popular practices linked to architecture are still alive as an organizational activity of the city space. In short, architecture as a public space. The article starts from a definition of public space organized in three planes: the ground, the vertical or the facade and the air, and explores by studying several cases in several cities, some popular practices of public urban decorum, still existing, which allow the social appropriation of public space. The article assumes that the aesthetics of the city is not only done by building, but that there are ornate practices, some academic, some more popular. RESUMEN Este trabajo explora algunas prácticas populares en la transformación del espacio público de la ciudad. Parte de la idea ya formulada por Cerdà que la calle y lo edificado forman parte de una dupla conceptual que se retrotrae mutuamente. En este sentido el trabajo plantea que en una ciudad contemporánea, la práctica de la arquitectura popular como construcción, está limitada por los condicionantes urbanísticos y legales vigentes. Sin embargo, el trabajo demuestra que siguen vivas otras prácticas populares vinculadas con la arquitectura entendida como actividad organizativa del espacio de la ciudad. En definitiva, arquitectura como espacio público. El artículo parte de una definición de espacio público organizado en tres planos: el del suelo, el vertical o de fachada y el del aire, y explora mediante el estudio de varios casos en varias ciudades, alguna de las prácticas populares de ornato público, todavía existentes, que permiten la apropiación social del espacio público. El artículo asume que la estética de la ciudad no se realiza únicamente mediante la edificación, sino que existen prácticas de ornato, unas más académicas, otras más populares. Palabras clave: espacio público, ornato público, estética urbana, apropiación,
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El suministro de agua ha sido siempre una de las preocupaciones más importantes de cualquier gobierno local. Las ciudades siempre han tenido necesidad de agua y garantizarla ha supuesto el diseño de la infraestructura de suministro y... more
El suministro de agua ha sido siempre una de las preocupaciones más importantes de cualquier gobierno local. Las ciudades siempre han tenido necesidad de agua y garantizarla ha supuesto el diseño de la infraestructura de suministro y distribución [pozos, conducciones, acueductos, fuentes]. El agua cumple una función.
Es a partir del siglo. XV, que algunas de las ciudades italianas del Renacimiento van a introducir nuevos valores en la composición urbana y en la evolución de su paisaje. Por un lado, las plazas centrales de la ciudad se organizan como un conjunto de estilo, en el que. un tratamiento más o menos unitario de las fachadas toma un papel principal en la composición general del sitio, dando pie al “art urbain”(Choay, Françoise, 1998; Remesar, A, 2016). Por otra parte, dotan de una profunda función estética a las fuentes, que pasan de ser elementos puramente funcionales y arquitectónicos, a elementos con un carácter dual. continuando con su función instrumental de suministro de agua, pero adquiriendo un importante valor simbólico mediante la introducción de grandes composiciones escultóricas. Pensemos en las distintas fuentes que puntúan el paisaje de las ciudades renacentistas, como la Fuente Gaia de la plaza del Campo de Siena, obra de Jacopo della Quercia (1419) que en el siglo XIX sufriría una vándala modificación en nombre de la moral burguesa; las presentes en el proyecto de la plaza del Campidoglio de Miquel Ángel (1535); la Fontaine des Innocents en Paris, obra de Jean Goujon (1549); la de Neptuno en la plaza de la signoria de Florencia, obra de Ammananti (1560 - 1575) y compañera del David de Miguel Ángel, o las espectaculares fuentes de Bernini en Roma y ya en el s.XVII.
Es a partir del siglo. XV, que algunas de las ciudades italianas del Renacimiento van a introducir nuevos valores en la composición urbana y en la evolución de su paisaje. Por un lado, las plazas centrales de la ciudad se organizan como un conjunto de estilo, en el que. un tratamiento más o menos unitario de las fachadas toma un papel principal en la composición general del sitio, dando pie al “art urbain”(Choay, Françoise, 1998; Remesar, A, 2016). Por otra parte, dotan de una profunda función estética a las fuentes, que pasan de ser elementos puramente funcionales y arquitectónicos, a elementos con un carácter dual. continuando con su función instrumental de suministro de agua, pero adquiriendo un importante valor simbólico mediante la introducción de grandes composiciones escultóricas. Pensemos en las distintas fuentes que puntúan el paisaje de las ciudades renacentistas, como la Fuente Gaia de la plaza del Campo de Siena, obra de Jacopo della Quercia (1419) que en el siglo XIX sufriría una vándala modificación en nombre de la moral burguesa; las presentes en el proyecto de la plaza del Campidoglio de Miquel Ángel (1535); la Fontaine des Innocents en Paris, obra de Jean Goujon (1549); la de Neptuno en la plaza de la signoria de Florencia, obra de Ammananti (1560 - 1575) y compañera del David de Miguel Ángel, o las espectaculares fuentes de Bernini en Roma y ya en el s.XVII.
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Following the development in 2011 of the Mural of Remembrance in Baró de Viver (Barcelona) the adjacent district of Bon Pastor, showed interest in a symbolic and artistic element of similar characteristics. However, from the beginning,... more
Following the development in 2011 of the Mural of Remembrance in Baró de Viver (Barcelona) the adjacent district of Bon Pastor, showed interest in a symbolic and artistic element of similar characteristics. However, from the beginning, Bon Pastor neighbours expressed the idea that writing their remembrance should not be performed on a linear support, but should be distributed by the territory. The research team of the Polis Research Centre started a participatory process (not yet completed) within the framework of cooperation agreements between the Centre, the Neighbourhood association and the local authorities of the Sant Andreu district. At the same time, the subject of this "memory space system" became a topic to be developed by one of the, interdisciplinary and international, teams of students of the Master in Urban Design, Universitat de Barcelona. This article presents the progress made.
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TABLE OF CONTENTS Wioletta Kazimierska-Jerzyk, Agnieszka Rejniak-Majewska, Aesthetic Polarities: Urban Creativity and City Dwelling. Introduction Antoni Remesar, Twenty Years Working with Neighbours. Citizen Participation, Is It... more
TABLE OF CONTENTS
Wioletta Kazimierska-Jerzyk, Agnieszka Rejniak-Majewska, Aesthetic Polarities: Urban Creativity and City Dwelling. Introduction
Antoni Remesar, Twenty Years Working with Neighbours. Citizen Participation, Is It Possible? What We Have Learned in 20 Years
Salvador Angosto, Mapping the History of a Territory: Bon Pastor (Barcelona) – Social Remembrance and Heritage Project
Julia Sowińska-Heim, The Role of Visual, Semantic and Sensual Aspects of Architecture in Perpetuating the Memory of the Past – the New Synagogue in Mainz
Jakub Petri, Under Construction: Urban Practices of Terrain Vague
in Upper Silesia
Mateusz Salwa, The Everyday Aesthetics of Public Space
Agnieszka Rejniak-Majewska, Estetyzacja bez granic? O (konfliktowej) komplementarności etyki i estetyki
Wioletta Kazimierska-Jerzyk, Smak słodko-gorzko-kwaśny. Miejsce filozofii w sztuce życia według Bohdana Dziemidoka
Wioletta Kazimierska-Jerzyk, Agnieszka Rejniak-Majewska, Aesthetic Polarities: Urban Creativity and City Dwelling. Introduction
Antoni Remesar, Twenty Years Working with Neighbours. Citizen Participation, Is It Possible? What We Have Learned in 20 Years
Salvador Angosto, Mapping the History of a Territory: Bon Pastor (Barcelona) – Social Remembrance and Heritage Project
Julia Sowińska-Heim, The Role of Visual, Semantic and Sensual Aspects of Architecture in Perpetuating the Memory of the Past – the New Synagogue in Mainz
Jakub Petri, Under Construction: Urban Practices of Terrain Vague
in Upper Silesia
Mateusz Salwa, The Everyday Aesthetics of Public Space
Agnieszka Rejniak-Majewska, Estetyzacja bez granic? O (konfliktowej) komplementarności etyki i estetyki
Wioletta Kazimierska-Jerzyk, Smak słodko-gorzko-kwaśny. Miejsce filozofii w sztuce życia według Bohdana Dziemidoka