Former 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) Phone: +34934034033 Address: CR POLIS-ART, CITY, SOCIETY. Universitat de Barcelona. Pau Gargallo 4 08028 Barcelona
A. Remesar (Ed)
The Art of Urban Design in Urban Regeneration. Interdisciplinarity, Policies, G... 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
in Núria Ricart (Ed.) PUBLIC SPACE AND MEMORY, 2016
Research conducted by our research centre trying to study the evolution of public art in Lisbon (... 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
in A. Remesar (ED) The Art of Urban Design in Urban Regeneration. Interdisciplinarity, Policies, Governance, Public Space, 2016
This paper considers the possibilities for public art and urban design to implement civic partici... 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.
WIOLETTA.KAZIMIERSKA -JERZICK AND Agnieszka Gralińska-Toborek (ED) The Aesthetic Energy of the City”, University of Lodz. Lodz, 2016 , 2016
We do not intend here to trace the history of the notion of Urban Decorum. Generally, decorum re... 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
J. Cunha Leal; M.H. Maia; Begoña Farre (eDS) Southern Modernimos: from A to Z and back again, 2015
When focusing our analysis on the perspective of the
housing problem, we should note that it has ... 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.
The exhibition presents those projects implemented in the public space, those involving a practic... 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”.
Helena Elias, Inês Marques e M.Constança Vasconcelos. ARTE PÚBLICA E EDUCAÇÃO: INTERVENÇÃO, MEMÓRIA E CIDADANIA, 2014
En los últimos años hemos asistido a una especie de eclosión de la actividad artística sobre la c... 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?
Cardoso, A- Cunha-Leal, J- Maia, M.H (ED). Surveys on Vernacular Arqchitecture. Their Significance in 20th Century Architectural Culture , 2012
Ildefonso Cerdà's work has been undervalued in the context of the historiography on urbanism. How... 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)
Arte en las Ciudades. Ls ciudades en el Arte, 2013
La política de gestión patrimonial desarrollada en la última década -la llamada <década de la mem... 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.
in HAMANN, Johana (ED) LIMA: ESPACIO PÚBLICO, ARTE Y CIUDAD
ISBN 978-6124206023Pontificia Univer... more in HAMANN, Johana (ED) LIMA: ESPACIO PÚBLICO, ARTE Y CIUDAD
ISBN 978-6124206023Pontificia Universidad Católica del Perú
Ambivalent Landscapes. Sorting out the present by designing the future, Dec 2012
Urban growth and recent transformations brought us a new context of cities, introducing new urban... 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
Simposio Internacional de Urbanismo y Arquitectura, 2012
RESUMEN
La recuperación de los centros urbanos se ha convertido en una de las política de renovac... 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.
Simposio Internacional de Urbanismo y Arquitectura, 2012
El siguiente artículo estudia las estrategias de gestión del patrimonio y el arte público en la c... 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
Arte, Architettura, paesagio. Alinea Ed. Firenze, 2012
This chapter discusses some of the key concepts in the consideration of public art as a central e... more 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.
with Núria Ricart. Published in AA.VV. Arte Público Hoy, Valladolid, 2010, 2010
Las últimas décadas del s.XX y la primera del XXI han supuesto una especial relación entre “lo so... 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.
in Pedro de Andrade. Canos Almeida Marques, José da Cunha Barros (Coord.) Arte Pública e Cidadania Novas leituras da cidade criativa, 2010
Abordar as relações entre os processos de regeneração urbana e a arte pública é um lema difícil e... 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.
ABSTRACT
The present final Master’s dissertation takes as its starting point the urban interventi... 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
Last week (10th-14th july) the UIU organized the “Smart cities: innovation, climate change, urban... 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
Employment policies and social services are not enough to promote the urban cohesion of a territo... 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 term urban arts is a weak and imprecise concept with many levels of meaning , often incoheren... 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
En un momento en que los servicios básicos parecían totalmente cubiertos en la mayoría de municip... 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.
The GAU (Urban Art Gallery) Lisbon, sponsored by the Department of Culture of the city, born in p... 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.
I was preparing my lecture on “New Urban Decorum” the which I had to deliver in Lodz, at the 1s... 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.
Inside a hospital institution with a specific structure and several actors, we find a succession ... 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
In the nineteenth century, the union of art and industry has led to a profusion of cast iron urba... more In the nineteenth century, the union of art and industry has led to a profusion of cast iron urban artifacts – street furniture - where French Fonte d'Art was a leading example. The mass diffusion of these artifacts was associated with two converging factors: - The Universal Exhibitions; - The development of cities based on the conceptions of the new eighteenth century urbanism, where the urban renewals of the Haussmannian Paris became an example and model of world export. The first factor was a result of the maturity reached by the Industrial Revolution and the liberal concept of the world economy, becoming one of the main agents of influence in the whole public space in several European cities and Latin America in the eighteenth century. This accelerated the development of Fonte d'Art industry in all its aspects: urban design, artistic, and technological. From the second factor came urban intervention policies, by local administrations and government, whose content was reflected in the deployment of health infrastructure networks, lighting, public transportation and urban beautyfication projects, as well as green areas and public spaces for leisure. The present work aims to study the impact and influence that these two factors had in the Portuguese street furniture foundry industry and the emergence and spread of cast iron street furniture in the city of Lisbon. To this end, it became necessary to review all foundries in Portugal, through the various industrial surveys published throughout the nineteenth century, in order to situate the role of the foundry industry, in the national context. Similarly an analysis to legal and responsible to the Capital, determined their appearance, particularly in the performance Technical Department of the Municipality of Lisbon had in relation to urban development and subsequent materialization of cast iron street furniture in overview of the city
This dissertation, which is based on qualitative and humanistic perspectives, aims at contributin... more This dissertation, which is based on qualitative and humanistic perspectives, aims at contributing with knowledge within the frame of mobility and public spaces, for the purpose of generating guidelines which will allow promoting an urban lifestyle focused on the integration amongst a number of motorized as well as non-motorized public transportation modes. Within the first part of the dissertation, good urban practices are evidenced where the insertion of massive transport systems have benefited mobility as well as favored the quality improvement of public spaces. Therefore, the city has become an urban benchmark. The construction of the conceptual framework allowed validating the proposed research hypothesis: “The impact of the subway system insertion as a good practice for transportation planning is minimized if diversity, accessibility and qualification of its public spaces are not considered, as indicators for mobility planning”. In the city of the Maracaibo municipality, with a population of 1.450,665 inhabitants, and a 2 surface area of 393 Km , it is evidenced increased deterioration of the urban transport system in recent years, as unsatisfied demands have been piling up as a consequence of the limitations, as well as internal and external service circumstances, thus preventing provident and adequate city planning. As a result, mobility becomes unsustainable, as it is intended for automobiles. The insertion of the subway system into the city currently proves to be a scenario which evidences disarticulation between desirable public space intervention policies and development models for means of transport which facilitate mobility. By taking these problems as a starting point, the second part of this research develops a situational diagnose for the Sabaneta Corridor, in which the first line of the Maracaibo subway system (Venezuela) is inserted. A SWOT matrix allows making policies, as well as devising strategies and actions for contributing to mobility planning whilst encouraging, in this manner, both accessible and efficient use patterns. Finally, a proposal is presented for three stations, which summarizes guidelines for “sustainable” urban mobility planning across six vertices: a) reconditioning of the existing urban pedestrian walkways, b) re-organization of the urban road system –cycle lanes-, c) Nodes and intermodal transport units, d) Redevelopment of urban idle spaces into public spaces –two-level connectivity-, e) street furniture, and f) art as an integration element for means of transport.
Several challenges was currently introduced in urban areas, particularly resulting from strong gr... 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
Esta tese trata da incerteza como fator determinante na produção urbana contemporânea, analisando... 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.
In the nineteenth century, the union of art and industry has led to a profusion of cast iron urba... more In the nineteenth century, the union of art and industry has led to a profusion of cast iron urban artifacts – street furniture - where French Fonte d'Art was a leading example. The mass diffusion of these artifacts was associated with two converging factors: - The Universal Exhibitions; - The development of cities based on the conceptions of the new eighteenth century urbanism, where the urban renewals of the Haussmannian Paris became an example and model of world export. The first factor was a result of the maturity reached by the Industrial Revolution and the liberal concept of the world economy, becoming one of the main agents of influence in the whole public space in several European cities and Latin America in the eighteenth century. This accelerated the development of Fonte d'Art industry in all its aspects: urban design, artistic, and technological. From the second factor came urban intervention policies, by local administrations and government, whose content was reflected in the deployment of health infrastructure networks, lighting, public transportation and urban beautyfication projects, as well as green areas and public spaces for leisure. The present work aims to study the impact and influence that these two factors had in the Portuguese street furniture foundry industry and the emergence and spread of cast iron street furniture in the city of Lisbon. To this end, it became necessary to review all foundries in Portugal, through the various industrial surveys published throughout the nineteenth century, in order to situate the role of the foundry industry, in the national context. Similarly an analysis to legal and responsible to the Capital, determined their appearance, particularly in the performance Technical Department of the Municipality of Lisbon had in relation to urban development and subsequent materialization of cast iron street furniture in overview of the city
Public participation, that concept so frequently elevated and embellished in the retoric of urban... more Public participation, that concept so frequently elevated and embellished in the retoric of urban thinking, has been demaned by some and corrupted by others, that it is dificult to appreciate its real purpose despite the the obvious sintactic meaning of the two words. Public space, an essential element to people’s life that, the democracy quality, the social justice, and urban equality conditions in communities and cities through its physical, spatial, simbolic and representative conditions. In the context of the unstoppable globalization that moves the management and policy making in cities, the production of public space has become a way in which cities can position themselves as references/models, seeking not only outside recognition but also the development in multiple levels and dimensions inside the city. However, the traditional practices of public space production do not result always effective to improve the citizens’ expectations, and sometimes result in social and urban conflicts. Now, Could a city be competitive if designed including citizens participation?, To what extent a “participative city” can be consolidated as attactive without detriment to locals’ interest? In what manner public space projects can consider citizens’ participation without falling in superficial exersices of consulting and informing users? How and when is it effective to consider citizens’ participation? and to that extent, is the presumable success of these interventions consistent with the experience and utilization of space? Or instead was it simply part of the collective dialogue of promoting participatory processes and public space projects? Could the participative design of the public space projects be the answer for achieving socially just cities, guaranteeing the right to a city and holding citizens accountable for shaping it. All the matters revolve around the conceptual basis of a specific way of making the city: The citizens’ participation as a foundation of relationships between the institutional framework of the State, the scope of urban profesionals and citizens. In this thesis the production of public space is approached from the perspective of citizens’ participation in the design process, starting with the premise that designing public space could become in an unquestionable opportunity to value the role of citizens and assert the guiding principles of democracy in the city. Thus, an opportunity to make the process of making city a collective and inclusive process, in which inclusion is the key to the realization of the projects, and to consolidate the identity with the place and the involvement level of citizens with respect to the space in which their life is shared with others. In short, an assurance for socially sustainable, democratic, equitable and fair cities
The doctoral thesis presented here is a result of the research carried out by the group CR Polis ... more The doctoral thesis presented here is a result of the research carried out by the group CR Polis in the last years in the civic participation field, the space design and public art. More specifically, the participatory projects made in the districts Poblenou, Baró de Viver and Bon Pastor are analysed. These three experiences have let us value to what extent civic participatory processes in space and public art can be developed, beyond the usual ways in which the artistic production has been established that require participation and implication. These civic participatory projects are defined as citizens takeover processes and creative processes, that train people to take their own decisions about public space and its shape. We have been able to experiment first-hand several methodologies and tools in the different participatory processes carried out in each district. In this way, the neighbours were able to refine the proposals about space design and public art which would be presented and negotiated with the public administration afterwards. Some of these techniques are common in various disciplines such as architecture, urbanism, design or social psychology. We have often reinterpreted them and we have also proposed new instruments when it was not enough. The multi-task approach is characterized by an adaptable and flexible application, which has helped us to overcome all challenges that could appear. The complexity and sometimes also ambiguity of the three issues addressed: public space, public art and civic participatory, have let us experiment interdisciplinary approaches in order to face the proposed projects. In chronological order, the first project was in Poblenou district, and it was focused on representative elements and on the neighbourhood’s public space identity. This identity was threatened by the big planning projects for Barcelona city in the early years of the 21st century, especially by 22@BCN, as neighbours told us. This project finished before starting the designing phase, but Poblenou’s spaces and urbanistic elements which are a source of this neighbourhood’s identity. In Baró de Viver district, the opportunity of implementing several participatory processes for all phases in the specification of public space design proposal was given: from the first territory analysis, until the work realisation. After seven years in which there were several participatory processes and different types of relationships with public authorities, the first two public art works in the neighbourhood were unveiled: The Memory’s Wall and the Cheap Houses Tribute. They are commemorative sculptures that reach the new district’s boulevard, which was proposed and designed by the neighbours through the participatory processes provided by the CR Polis team. The result of Baró de Viver’s project led to Bon Pastor’s one, taking as origin the claim of a project for the public space that could take the collective memory of the neighbourhood. In this project, the first participatory works have started, taking the territory analysis and collective memory concretion as main aims, in order to propose how and where express it in the public space. On balance, these three projects have let us go beyond theory to propose concrete ways of public space design development and, specifically, public art. Beyond debates about what participation means and its social involvement, the present research focuses on how participating; specifically, it looks at how do people participate in proposal with a high aesthetic approach. The main objective has not been creating a combination of closed recipes for anyone and anywhere. This would mean working against our way of understanding the participation in urbanistic design and public art. Our aim has been and is experimenting the artist’s role as a facilitator in participatory and creative processes for proposals designs of public art and space design
This research tackles the public spaces in the framework of Beirut’s mosaic history, whereby the ... 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.
Inside a hospital institution with a specific structure and several actors, we find a succession ... 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
This Ph.D. Dissertation examines how the transformation of the economic base of the city of Barce... more This Ph.D. Dissertation examines how the transformation of the economic base of the city of Barcelona had a transformative impact on its physical configuration, and therefore on its public space. This phenomenon is linked to urban regeneration processes, common to the dynamics that occur in other cities. We believe it is important to analyse such processes, as they allow us to relate the economic and political assumptions with the results in the territory. Beyond this general interest, the specific characteristics of Barcelona make it stand out in relation to the operations in other cities, therefore ensuring the commitment of this research. By characterizing Barcelona as a creative city, we then analyse the deindustrialization and subsequent re-industrialization of the Poblenou derived of the 22@ plnn, which transforms the old manufacturing industries in knowledgerelated industries, where culture is predominant. We use an innovative methodology, consisting of implementing a multi-scale analysis in space, and time, focusing on both economic and territorial policies in Poblenou. To contextualize this analysis, we first examine the general evolution of cities' cultural policies, in order to articulate the concept of “creative cities” with the process ot urban regeneration. Then, we look at the linkage between the uses evolution of the physical territory of Poblenou, and the progress of cultu.ral policies in Barcelona. Finally, we deepen the study of the 22@Barcelona project in its general context and, in particular, we evaluate the public space adjacent to buildings used for creating new productive activities. We analyse the intervention in Palo Alto by considering it esp«ially characteristic of this physical, productive and cultural transformation processes. This appreciation of Poblenou includes elements of continuity and rupture. On the first onc, wc observe the integration of its physical territory, in relation to the whole city; the continuity of its conceptualization as an industrial district, including the :ldaptation of the first industrialization buildings to new uses and valued an heritage; the attempt to keep the resident population; and finally, by the introduction of new physical and social infrastructures, providing an equivalence within the city. We consider the overall configuration of the public space designed for 22@ as qualitatively positive, by encouraging its integration in the city and its urban cohesion. But we also identify a break in the built environment: especially in the vertical plane, the intent of introducing new differentiators in the urban landscape results in a mundane image and on a cultural resources trivialization. On the ambiguity of these results, we highlight the value and integration and of these Poblenou's newly designed public spaces in the historical and territorial continuity of the whole city, emphasizing this aspect of excellence and as a representative of the contemporary Barcelona
This work directs a watchful gaze at the ground. Regardless of its functional qualities of streng... 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
This PhD thesis aims to study the production of public art in the city of Lisbon, in major public... 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
This research consists on understanding the relashionship between the inner city and the waterfro... more This research consists on understanding the relashionship between the inner city and the waterfront, based on the case of Lisbon, by means of the urban structures that link these two realities, called structures of articulation with the waterfront. The starting point is the identification of a territorial system underlying the urban structure: the comb structure, consisting of two logics, morphologically different but interconnected: the horizontal logic (urban axes parallel to the waterfront) and the vertical logic (urban axes transverse to the waterfront). In this system, the public space plays an important role, because of its articulating properties and of the way it physically and visually allows the connection with the waterfront. This is also a symbolic system. The different ways of physical and visual connection are related with one key factor: the presence of public art in the structures of articulation. Because we consider that the better way to understand the urban reality in its multiple dimensions is the contact with the territory and the site observation, we assume it as the main basis of the research. With this methodological approach, the articulation with the waterfront is interpreted according to different aspects. First, the research focuses on the morphological characteristics of the transverse axes. Then, it inquiries on how those characteristics define the use of the space, in aspects such as the visibility of the waterfront, or the speed in the pedestrian access routes. Finally, the research focuses on the relationship between public art and the structures of articulation, trying to understand – as an underlying question – how public art and its placement are seen in Lisbon and if the understanding that we stand for – of public art integrated into its urban context rather than as an isolated aesthetic object – is present or not in public space.
The research undertaken in this doctoral thesis examines the existing challenges in public art an... 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 scientific and technological advances, especially those associated with computing and communi... 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
The subject of this dissertation is Lima's public art and its relationship with the processes of ... 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.
This study investigates the processes of design suitable to the eco-design of streetlights, which... 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 PUBLIC SPACE IN THE HISTORICAL TOWN CENTRE OF PUEBLA (MEXICO)".
TEXT:
The historical city ... 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.
The PhD developed has a clear interdisciplinary character as it addresses three specific research... more The PhD developed has a clear interdisciplinary character as it addresses three specific research fields: public art, public participation and public space. The foundations of the research focus on the project Cartografies de La Mina, which raises between 2002 and 2006 a process of public participation in relation to art and public space in La Mina district of Sant Adrià de Besòs (Barcelona).
Based on this process and others of similar features, the Polis Research Center (University of Barcelona), defines a line of research‐intervention with specific goals and procedures, interested in the analysis and improvement of public space based on facilitation of participatory processes.
This line is put in value through the study of its operation, developing creative methodologies and academic context in which it is carried out. But also through the analysis of other strategies that follow different models of intervention, which converge in the arts, public space and participation too. These strategies are addressed through analysis of twenty projects carried out since the decade of the seventies of the XXth century until today, ‐most of them integrated on the art circuit. It has been fundamental to analyze the state of the art of the following questions to address the issues specified.
First, we introduced the main ideas regarding the complex concept of public space, to determine the optics from which we have understood this field of discussion.
Properly in the theoretical framework of research, we have given the main logic of the practices and challenges of public participation in relation to the problems of governance, emphasizing the links between urban design and public participation because of this match link with the main topics of research.
Moreover, we have studied the evolution of public art from its origin, between nineteenth and twentieth centuries and considered the multiple dimensions of the concept throughout the century. In this part, we put special emphasis on the interrelationships of the art object with the urban area of intervention, but also with social practices that promote or derived.
This theoretical framework has enabled us to understand the origin of the above art practices in participatory processes on public space and frame with fitness the line proposed by the Polis Research Center, explained in depth through the project Cartografies de La Mina.
KEYWORDS: public art, public participation, public space
COHESIÓN URBANA. Bon Pastor - Baró de Viver. Proyectos para la mejora de la conectividad urbana E... 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.
La Ruta de la Memòria de les Corts a Barcelona proposa un recorregut urbà per 13 localitzacions ... 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.
A. REMESAR- N. RICART
ART, CITY, SOCIETY. Art for All, Art with everyone Art by all, collects ... 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
“En los márgenes” es una exposición acerca de dos barrios, acerca de dos ciudades, posiblemente a... 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
La exposició narra la història de Baró de Viver a través de les imatges que els veïns i veïnes de... 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).
En los últimos años la presencia mediática de las impresoras 3D ha ido creciendo exponencialmente... 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
Proposta presentada pel centre de recerca Polis de la Universitat de Barcelona, grup de recerca c... 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
SUMMARY This work explores some popular practices in the transformation of the public space of th... 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,
El suministro de agua ha sido siempre una de las preocupaciones más importantes de cualquier gobi... 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.
Following the development in 2011 of the Mural of Remembrance in Baró de Viver (Barcelona) the ad... 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.
TABLE OF CONTENTS
Wioletta Kazimierska-Jerzyk, Agnieszka Rejniak-Majewska, Aesthetic Polarities:... 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
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Papers by Antoni Remesar
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
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.
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”.
ISBN 978-6124206023Pontificia Universidad Católica del Perú
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.
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
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.
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.
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
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
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
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
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.
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.
I came to being focused on the work by Clet Abraham in Barcelona, and the discovery was most enjoyable.
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
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.
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.
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.
Based on this process and others of similar features, the Polis Research Center (University of Barcelona), defines a line of research‐intervention with specific goals and procedures, interested in the analysis and improvement of public space based on facilitation of participatory processes.
This line is put in value through the study of its operation, developing creative methodologies and academic context in which it is carried out. But also through the analysis of other strategies that follow different models of intervention, which converge in the arts, public space and participation too. These strategies are addressed through analysis of twenty projects carried out since the decade of the seventies of the XXth century until today, ‐most of them integrated on the art circuit. It has been fundamental to analyze the state of the art of the following questions to address the issues specified.
First, we introduced the main ideas regarding the complex concept of public space, to determine the optics from which we have understood this field of discussion.
Properly in the theoretical framework of research, we have given the main logic of the practices and challenges of public participation in relation to the problems of governance, emphasizing the links between urban design and public participation because of this match link with the main topics of research.
Moreover, we have studied the evolution of public art from its origin, between nineteenth and twentieth centuries and considered the multiple dimensions of the concept throughout the century. In this part, we put special emphasis on the interrelationships of the art object with the urban area of intervention, but also with social practices that promote or derived.
This theoretical framework has enabled us to understand the origin of the above art practices in participatory processes on public space and frame with fitness the line proposed by the Polis Research Center, explained in depth through the project Cartografies de La Mina.
KEYWORDS: public art, public participation, public space
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.
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
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
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).
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.
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