Pub Date : 2022-01-11DOI: 10.1344/waterfront2022.64.1.01
Emilio Reyes-Schade, Katheryn Gutiérrez-Torres, Padilla-Llano Samuel Esteban
Centrados en el sentido de urbanidad, el presente artículo se ha planteado como una aproximación a la capacidad de transformación que tiene el binomio sistema de espacio público - sistema de transporte público, en los procesos de reestructuración y/o recualificación urbana en distintos contextos geográficos. Lo anterior, se aborda en términos de la subsanación o del reacomodo morfológico de ciertas rupturas que presenta el tejido urbano frente a la idea del espacio público como sistema polisémico de articulación, estructuración y soporte de la ciudad. Los aportes urbanos suscitados a partir de la reimplementación del transporte público guiado en la ciudad, pueden apreciarse a la luz del análisis del caso del canal tranviario de Ayacucho en la ciudad de Medellín, actuación urbana que ha representado una herramienta significativa de “hacer ciudad”, de la cual se concluye que se ha consolidado como una pauta de crecimiento que ha permitido, a su vez, proyectar con cierto grado de certeza un desarrollo urbano en un tiempo consensuado a partir de políticas públicas. Esta intervención ha posibilitado también la conformación de un ambiente urbano flexible (polivalente), propicio para la generación de intercambios espontáneos y la reconexión entre las instancias (actividades y lugares) urbanas que presentaba el tejido urbano con las nuevas instancias urbanas que se han generado a partir de la implementación del tranvía.
{"title":"Imbricación urbana del movimiento: continuidad, accesibilidad y estructuración en el Sistema de Tranvía de Ayacucho, Medellín","authors":"Emilio Reyes-Schade, Katheryn Gutiérrez-Torres, Padilla-Llano Samuel Esteban","doi":"10.1344/waterfront2022.64.1.01","DOIUrl":"https://doi.org/10.1344/waterfront2022.64.1.01","url":null,"abstract":"Centrados en el sentido de urbanidad, el presente artículo se ha planteado como una aproximación a la capacidad de transformación que tiene el binomio sistema de espacio público - sistema de transporte público, en los procesos de reestructuración y/o recualificación urbana en distintos contextos geográficos. Lo anterior, se aborda en términos de la subsanación o del reacomodo morfológico de ciertas rupturas que presenta el tejido urbano frente a la idea del espacio público como sistema polisémico de articulación, estructuración y soporte de la ciudad. Los aportes urbanos suscitados a partir de la reimplementación del transporte público guiado en la ciudad, pueden apreciarse a la luz del análisis del caso del canal tranviario de Ayacucho en la ciudad de Medellín, actuación urbana que ha representado una herramienta significativa de “hacer ciudad”, de la cual se concluye que se ha consolidado como una pauta de crecimiento que ha permitido, a su vez, proyectar con cierto grado de certeza un desarrollo urbano en un tiempo consensuado a partir de políticas públicas. Esta intervención ha posibilitado también la conformación de un ambiente urbano flexible (polivalente), propicio para la generación de intercambios espontáneos y la reconexión entre las instancias (actividades y lugares) urbanas que presentaba el tejido urbano con las nuevas instancias urbanas que se han generado a partir de la implementación del tranvía.","PeriodicalId":41149,"journal":{"name":"On the Waterfront","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88458066","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-09DOI: 10.1344/waterfront2021.63.11.01
Krystyna Strumiłło
The elements of the environment are characterized by variability. The structure of the city is also a subject to constant structural, social and material transformations. Objects in the city can play significant role for urban landscape. In recent years, it can be observed that the architecture of hotels in cities is becoming more and more unique. After years of building similar hotel facilities, architects began to create more and more original forms that attract the attention of passers-by and are remembered. The importance of individual places in the hierarchy of these space is also changing. Hotels are elements thatbuild the image of cities, often becoming their visual dominant. This applies to creating a sculpture in a space that catch attention with its form and play of colors. The aim of the article is to show, on the example of selected projects, how hotel buildings can shape urban images. The research method is based on the analysis of selected objects and showing their role in shaping the image of the city. The concept of the hotel influences the building of identity. The form of the hotel, the functionality, the materials, and their combination, create the semantic experience for observer. The hotel becomes a ‘story’ narrative that gives visitors or pedestrians a personal feeling of reading architecture. According to Kevin Lynch (1960:8), the external image we perceive can be analyzed by combining three factors: identity, structure and meaning. Identity is identifying an object, distinguishing it from others, making it exclusive. Thus, fragments of space of greater importance are created in the city, which are shaped in terms of public utility. These areas, having greater value, are also of greater prestige for the city. They add as well the aesthetic energy to the city.
{"title":"The role of hotel architecture in shaping the city’s image","authors":"Krystyna Strumiłło","doi":"10.1344/waterfront2021.63.11.01","DOIUrl":"https://doi.org/10.1344/waterfront2021.63.11.01","url":null,"abstract":"The elements of the environment are characterized by variability. The structure of the city is also a subject to constant structural, social and material transformations. \u0000Objects in the city can play significant role for urban landscape. In recent years, it can be observed that the architecture of hotels in cities is becoming more and more unique. After years of building similar hotel facilities, architects began to create more and more original forms that attract the attention of passers-by and are remembered. The importance of individual places in the hierarchy of these space is also changing. Hotels are elements thatbuild the image of cities, often becoming their visual dominant. This applies to creating a sculpture in a space that catch attention with its form and play of colors. \u0000The aim of the article is to show, on the example of selected projects, how hotel buildings can shape urban images. The research method is based on the analysis of selected objects and showing their role in shaping the image of the city. The concept of the hotel influences the building of identity. The form of the hotel, the functionality, the materials, and their combination, create the semantic experience for observer. The hotel becomes a ‘story’ narrative that gives visitors or pedestrians a personal feeling of reading architecture. \u0000According to Kevin Lynch (1960:8), the external image we perceive can be analyzed by combining three factors: identity, structure and meaning. Identity is identifying an object, distinguishing it from others, making it exclusive. Thus, fragments of space of greater importance are created in the city, which are shaped in terms of public utility. These areas, having greater value, are also of greater prestige for the city. They add as well the aesthetic energy to the city.","PeriodicalId":41149,"journal":{"name":"On the Waterfront","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75827026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-09DOI: 10.1344/waterfront2021.63.11.03
Adriana Krzywik
The phenomenon of wall paintings has been developing in public space since the Mexican Revolution. Murals are used, among other purposes, to capture memories. Moreover, they are one of the most popular forms of representation of the past in public space, commonly called memory carriers. In the discussion of the research being carried out, the opportunities associated with the formation of historical awareness and attitudes towards society’s past through commemorative murals will be highlighted.The research was conducted from July to November 2020. It was based on the analysis of the existing materials – photographs of commemorative murals (significant and marked elements) and interviews with semi-structured memory agents. The first stage of the described research focused on the authors of commemorative murals.The aim of the research was to determine the meaning and values that the creators of murals have given in general and in particular to the commemorative murals made by themselves.The research allowed, among other things, to answer questions concerning the artistic path of the creators (graffiti environment), what factors influenced the process of making mural (family history, one’s own past, finances, social involvement), worldview and values of the declared creators (patriotism) and attitude to the politics of memory.
{"title":"Murals as Memory Carriers. Analysis of the Meanings Given to Them and the Attitudes of Their Creators","authors":"Adriana Krzywik","doi":"10.1344/waterfront2021.63.11.03","DOIUrl":"https://doi.org/10.1344/waterfront2021.63.11.03","url":null,"abstract":"The phenomenon of wall paintings has been developing in public space since the Mexican Revolution. Murals are used, among other purposes, to capture memories. Moreover, they are one of the most popular forms of representation of the past in public space, commonly called memory carriers. In the discussion of the research being carried out, the opportunities associated with the formation of historical awareness and attitudes towards society’s past through commemorative murals will be highlighted.The research was conducted from July to November 2020. It was based on the analysis of the existing materials – photographs of commemorative murals (significant and marked elements) and interviews with semi-structured memory agents. The first stage of the described research focused on the authors of commemorative murals.The aim of the research was to determine the meaning and values that the creators of murals have given in general and in particular to the commemorative murals made by themselves.The research allowed, among other things, to answer questions concerning the artistic path of the creators (graffiti environment), what factors influenced the process of making mural (family history, one’s own past, finances, social involvement), worldview and values of the declared creators (patriotism) and attitude to the politics of memory.","PeriodicalId":41149,"journal":{"name":"On the Waterfront","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75353091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-09DOI: 10.1344/waterfront2021.63.11.02
M. Nowakowska
The aim of the paper is to outline the circumstances of the establishment of the Łódź Sculpture Gallery in Rubinstein’s Alley (formerly: Aleja ZMP) and its impact on the aesthetics of Łódź. Despite the city’s history dating back to the beginning of the 15th century, the first fully-fledged sculpture in public space appeared only in 1912. By the beginning of World War II, the number of sculptures increased to a dozen or so, but all of those works were destroyed by the Germans in the first years of the occupation. In the period 1945–1970, two monuments and a dozen or so smaller forms appeared. The sculptural face of the city was changed only by the Łódź Sculpture Gallery, which focused on the most important issues of post-war town planning, politics, artistic trends, and social needs. Despite its short period of operation (1972–1978), its effects are still visible almost everywhere in Łódź. Never before and never after has the medium of sculpture been aestheticised on such a scale in the city. The memory of this place and several dozen sculptures (and of their creators) has almost faded away. Currently, activities are under way to restore the Łódź Sculpture Gallery to its due position in the history of the city and to continue its activities in the same place.
{"title":"Open-Air Łódź Sculpture Gallery and Its Influence on the City’s Aesthetics in 1972–1978","authors":"M. Nowakowska","doi":"10.1344/waterfront2021.63.11.02","DOIUrl":"https://doi.org/10.1344/waterfront2021.63.11.02","url":null,"abstract":"The aim of the paper is to outline the circumstances of the establishment of the Łódź Sculpture Gallery in Rubinstein’s Alley (formerly: Aleja ZMP) and its impact on the aesthetics of Łódź. \u0000Despite the city’s history dating back to the beginning of the 15th century, the first fully-fledged sculpture in public space appeared only in 1912. By the beginning of World War II, the number of sculptures increased to a dozen or so, but all of those works were destroyed by the Germans in the first years of the occupation. \u0000In the period 1945–1970, two monuments and a dozen or so smaller forms appeared. The sculptural face of the city was changed only by the Łódź Sculpture Gallery, which focused on the most important issues of post-war town planning, politics, artistic trends, and social needs. Despite its short period of operation (1972–1978), its effects are still visible almost everywhere in Łódź. Never before and never after has the medium of sculpture been aestheticised on such a scale in the city. \u0000The memory of this place and several dozen sculptures (and of their creators) has almost faded away. Currently, activities are under way to restore the Łódź Sculpture Gallery to its due position in the history of the city and to continue its activities in the same place. ","PeriodicalId":41149,"journal":{"name":"On the Waterfront","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84093797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-05DOI: 10.1344/waterfront2021.63.10.02
Daniel Carrasco Bahamonde
La intervención mural del entorno urbano en Chile presenta una amplia tradición histórica. En el ámbito comunitario constituye una herramienta de mediación para la transformación material y la apropiación simbólica de espacios públicos que promueve la recuperación de áreas degradadas y el empoderamiento de las comunidades. El artículo presenta una iniciativa de rehabilitación de un espacio público en la comuna de Huechuraba mediante una intervención mural del entorno y tiene como principales objetivos dar cuenta de la metodología de trabajo utilizada y los principales elementos gráficos que dan forma al mural, articulando en una experiencia transformadora arte, memoria y territorio. La metodología se apoyó en un enfoque participativo que integra procesos de diálogo entre actores del territorio, la reconstrucción de su historia reciente, el co-diseño de una propuesta gráfico-pictórica y la co-producción de un mural comunitario. La iniciativa contribuyó a generar instancias de encuentro, diálogo y reflexión entre diversos actores, transformando el rostro de un sector estratégico del casco histórico de la comuna y promoviendo el empoderamiento de las comunidades, el patrimonio cultural y la identidad del barrio.
{"title":"Arte, Memoria y Territorio. Estudio de caso del proyecto “muralismo en mi barrio” en Huechuraba, Chile","authors":"Daniel Carrasco Bahamonde","doi":"10.1344/waterfront2021.63.10.02","DOIUrl":"https://doi.org/10.1344/waterfront2021.63.10.02","url":null,"abstract":"La intervención mural del entorno urbano en Chile presenta una amplia tradición histórica. En el ámbito comunitario constituye una herramienta de mediación para la transformación material y la apropiación simbólica de espacios públicos que promueve la recuperación de áreas degradadas y el empoderamiento de las comunidades. \u0000El artículo presenta una iniciativa de rehabilitación de un espacio público en la comuna de Huechuraba mediante una intervención mural del entorno y tiene como principales objetivos dar cuenta de la metodología de trabajo utilizada y los principales elementos gráficos que dan forma al mural, articulando en una experiencia transformadora arte, memoria y territorio. \u0000 La metodología se apoyó en un enfoque participativo que integra procesos de diálogo entre actores del territorio, la reconstrucción de su historia reciente, el co-diseño de una propuesta gráfico-pictórica y la co-producción de un mural comunitario. \u0000La iniciativa contribuyó a generar instancias de encuentro, diálogo y reflexión entre diversos actores, transformando el rostro de un sector estratégico del casco histórico de la comuna y promoviendo el empoderamiento de las comunidades, el patrimonio cultural y la identidad del barrio.","PeriodicalId":41149,"journal":{"name":"On the Waterfront","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73485643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-05DOI: 10.1344/waterfront2021.63.10.01
Cristina Pratas Cruzeiro
This article analyzes the relationship between Portuguese artists and bodies of power and the popular masses after the Revolution of 25 April 1974 and until 1977. The analysis of this period in Portugal will consider the dynamics surrounding socially engaged artistic practices integrated in the public space, within its historic and social framework. The article argues that the Portuguese artistic context under consideration arose from the politicians and artists motivation to bring art and the popular masses closer to the ongoing revolutionary process. In this approach, I identify collaboration as the most frequent attitude used by artists in relation to the political system and population. This approach decreased since 1976, at which time there was an increase in conflict with the political power structures. Regarding the relationship with the population, from that moment on there was also a decrease in the use of collaborative tools and an intensification of transgressive and provocative tools in artisticpractices. These changes will be articulated in the article based on the country’s objective political and social conditions, and their influence on attitudinal nuances identified in the socially engaged artistic practices under analysis.
{"title":"Art with Revolution! Political mobilization in artistic practices between 1974 and 1977 in Portugal","authors":"Cristina Pratas Cruzeiro","doi":"10.1344/waterfront2021.63.10.01","DOIUrl":"https://doi.org/10.1344/waterfront2021.63.10.01","url":null,"abstract":"This article analyzes the relationship between Portuguese artists and bodies of power and the popular masses after the Revolution of 25 April 1974 and until 1977. \u0000The analysis of this period in Portugal will consider the dynamics surrounding socially engaged artistic practices integrated in the public space, within its historic and social framework. \u0000The article argues that the Portuguese artistic context under consideration arose from the politicians and artists motivation to bring art and the popular masses closer to the ongoing revolutionary process. In this approach, I identify collaboration as the most frequent attitude used by artists in relation to the political system and population. This approach decreased since 1976, at which time there was an increase in conflict with the political power structures. Regarding the relationship with the population, from that moment on there was also a decrease in the use of collaborative tools and an intensification of transgressive and provocative tools in artisticpractices. \u0000These changes will be articulated in the article based on the country’s objective political and social conditions, and their influence on attitudinal nuances identified in the socially engaged artistic practices under analysis.","PeriodicalId":41149,"journal":{"name":"On the Waterfront","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81283983","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-31DOI: 10.1344/waterfront2021.63.8.01
Remesar Antoni
Este artículo, primera parte de una serie, repasa la idea de ‘centro’ de la ciudad mediante un análisis de algunas propuestas utópicas, incluidas las de Howard para la ciudad jardín y finaliza en el análisis de la policentralidad de la ciudad medieval. Tras un repaso de la evolcución de las ciudades circulares y poligonales realizado a partir de un análisis de fuentes secundarias, iconografía artísica, cartografía de los primeros tiempos de la imprenta e imágenes de Google Earth, entra en la discusión acerca de la ‘ciudad ideal’estudiando dicho concepto en la escolástica medieval, especialmente en la obra de Eiximenis, así como la relación de este ideal con la materialización de las ciudades [1] medievales de repoblamiento, valorando la relación entre los trazados y la emergencia del centro urbano y [2] el estudio, con distintas intensidades, de ciudades medievales importantes: Siena, Bolonia, Florencia, Venecia, Bruselas, Cracovia, Nápoles y Barcelona. En el caso de estas dos últimas ciudades el artículo focaliza en la importancia del espacio portuario y de ribera, como gran espacio público de la ciudad.
{"title":"La búsqueda del centro. Primera parte","authors":"Remesar Antoni","doi":"10.1344/waterfront2021.63.8.01","DOIUrl":"https://doi.org/10.1344/waterfront2021.63.8.01","url":null,"abstract":"Este artículo, primera parte de una serie, repasa la idea de ‘centro’ de la ciudad mediante un análisis de algunas propuestas utópicas, incluidas las de Howard para la ciudad jardín y finaliza en el análisis de la policentralidad de la ciudad medieval.\u0000Tras un repaso de la evolcución de las ciudades circulares y poligonales realizado a partir de un análisis de fuentes secundarias, iconografía artísica, cartografía de los primeros tiempos de la imprenta e imágenes de Google Earth, entra en la discusión acerca de la ‘ciudad ideal’estudiando dicho concepto en la escolástica medieval, especialmente en la obra de Eiximenis, así como la relación de este ideal con la materialización de las ciudades [1] medievales de repoblamiento, valorando la relación entre los trazados y la emergencia del centro urbano y [2] el estudio, con distintas intensidades, de ciudades medievales importantes: Siena, Bolonia, Florencia, Venecia, Bruselas, Cracovia, Nápoles y Barcelona.\u0000En el caso de estas dos últimas ciudades el artículo focaliza en la importancia del espacio portuario y de ribera, como gran espacio público de la ciudad.","PeriodicalId":41149,"journal":{"name":"On the Waterfront","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77665078","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
La participación para la intervención y transformación del entorno, en el estudio del caso‘Arquitectura Na Periferia’, se presenta como una vía emancipatoria de las mujeres y paramitigar conflictos de diferente índole en asentamientos marginados.En este artículo se estudian las consecuencias más amplias de la participación y lacolaboración ciudadana en prácticas que rompen los esquemas operativos habituales de ladisciplina arquitectónica y urbanística.De este modo, se pretende hacer, al mismo tiempo, una evaluación de algunas prácticasprofesionales renovadas revisando las actitudes y los procedimientos de actuacióny demostrando la eficiencia de los procesos en que las personas y las comunidadesinvolucradas crecen y se transforman.
在“arquitectura Na Periferia”的案例研究中，参与环境的干预和改造被认为是一种解放妇女的方式，并在边缘化的定居点中调解不同类型的冲突。本文探讨了公民参与和协作实践的更广泛后果，这些实践打破了建筑和城市学科的常规操作模式。与此同时，它的目的是评估一些更新的专业实践，回顾态度和行动程序，并展示过程的效率，在其中涉及的人和社区成长和转变。
{"title":"La Mujer Construye. ‘Arquitectura Na Periferia’","authors":"Álvarez Domínguez Mónica Enriqueta, Angelique Trachana","doi":"10.1344/waterfront2021.63.7.01","DOIUrl":"https://doi.org/10.1344/waterfront2021.63.7.01","url":null,"abstract":"La participación para la intervención y transformación del entorno, en el estudio del caso‘Arquitectura Na Periferia’, se presenta como una vía emancipatoria de las mujeres y paramitigar conflictos de diferente índole en asentamientos marginados.En este artículo se estudian las consecuencias más amplias de la participación y lacolaboración ciudadana en prácticas que rompen los esquemas operativos habituales de ladisciplina arquitectónica y urbanística.De este modo, se pretende hacer, al mismo tiempo, una evaluación de algunas prácticasprofesionales renovadas revisando las actitudes y los procedimientos de actuacióny demostrando la eficiencia de los procesos en que las personas y las comunidadesinvolucradas crecen y se transforman.","PeriodicalId":41149,"journal":{"name":"On the Waterfront","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79523006","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-02DOI: 10.1344/WATERFRONT2021.63.6.01
José Antonio De Gracia
This article uses an urban intervention in Panama City to discuss fundamental concepts in public space projects from a critical and theoretical perspective.First, the functions of the street as a basic structure of public space are illustrated. Its importance is recognized not only as an element of urban connectivity, but also as a place of movement, encounter, support and creation of urban meanings and social identities.Secondly, our case study is contextualized: the urban renewal of via Argentina, a street in the urban center whose environment was in a state of degradation like most streets in the city, largely occupied by the presence of vehicles. The intervention is part of a series of urban projects aimed at improving the physical structure of the city.The third section begins a critical analysis of the actions on Via Argentina, starting with the redistribution of street space, the relationship between vehicles and pedestrians, and the consolidation of public space.Next, we discuss in detail the new primary elements used for the urbanization of the street. Curbs, fords, pavement, rigola, gutters, tree surrounds and bollards become part of a system that must maintain a coherent relationship between all its parts. In addition, emphasis is placed on the design of the ground and the application of the pavement as a tool for the construction of an urban image and identity.Finally, the article ends with an analysis of the parameters of accessibility in the project, relating the concept to the use of the pavement and the configuration in some sections of the street as a single platform. The article uses a wide repertoire of documentary photography to contextualize the case study.
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Pub Date : 2021-06-25DOI: 10.1344/waterfront2021.63.5.01
Adriana Hernández Sánchez
This work exemplifies a search for participation for the promotion of urban-architectural projects both in the center and in the periphery of a Mexican city such as Puebla, where twenty years ago few activities were developed in which the main actors were the inhabitants. Fortunately, in recent years it has been possible to carry out specific actions where participation is a key part of having a less technical vision on the part of architects, urban planners and heritage conservators.The first project is the Integral Urban Social Program in which, through a municipal action, an attempt was made to implement a participatory process in sectors considered to be of extreme poverty where municipal government programs tried to impact the areas called PIUS. An important part was the Participatory Design process that mobilized the main universities of the city through young architecture students to carry out a series of projects where the condition was to have contact with the communities.In the case of the Casa Analco project, a university initiative in the historic centre of the city in a very traditional neighbourhood (16th century) with problems of deterioration, abandonment and insecurity, with which the university-neighbourhood link is currently promoted and in where space has been the pretext to promote university participation in the rehabilitation of a building, but at the same time in a rapprochement with the neighbourhood.Through these two cases it is confirmed that it is possible to make participation possible through a process that must be adapted to each place, these experiences leave a series of reflections in different areas, from which a basic process can be broken down to encourage it through organization, promotion, awareness of the work team, knowledge of the place, time, evaluation, management and adaptability.
这项工作是寻求参与促进城市建筑项目的例子，无论是在墨西哥城市的中心还是在墨西哥城市的外围，比如普埃布拉，20年前，在那里很少有活动是由居民主导的。幸运的是，近年来已经有可能开展具体行动，其中参与是建筑师，城市规划者和遗产保护者的技术视野较少的关键部分。第一个项目是“综合城市社会计划”(integrated Urban Social Program)，通过一项市政行动，试图在极端贫困地区实施参与式进程，市政府计划试图影响到被称为PIUS的地区。一个重要的部分是参与式设计过程，通过年轻的建筑专业学生动员城市的主要大学开展一系列项目，这些项目的条件是与社区接触。在Casa Analco项目中，一所大学位于城市历史中心的一个非常传统的社区(16世纪)，存在着退化、废弃和不安全的问题，目前正在促进大学与社区的联系，在这里，空间已经成为促进大学参与建筑修复的借口，但同时也与社区和睦相处。通过这两个案例，证实了通过一个必须适应每个地方的过程来实现参与是可能的，这些经验在不同的领域留下了一系列的反思，从中可以分解出一个基本的过程，通过组织、推广、对工作团队的认识、对地点、时间、评估、管理和适应性的了解来鼓励参与。
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