Tag: Urban Design

The 5th International Conference “Aesthetic Energy of the City”: Static and Dynamic Qualities of the City

organized by
The University of Lodz  [Department of Ethics/Institute of Philosophy]
The University of Barcelona [Polis Research Centre]
The Urban Forms Foundation
The Conference will be held at the Institute of Philosophy at the University of Lodz, 3/5 Lindleya Street, on 12th–14th September 2022.
[Due to the developing Covid-19 pandemic, we are considering the possibility of conducting an entirely online conference. If it is possible, we are ready to organize both virtual and live sessions]

AIMS & TOPICS
The city is usually full of opposites. It is important especially now as we face the challenges of the Sustainable Development Goals (the 2030 Agenda for Sustainable Development) which will surely have an impact on the ways of “building a city”. In a living city, something always changes, but there are also elements that function permanently or relatively permanently. It seems that the oscillation between what is static and dynamic is an inherent feature of the city. The experience of this diversity or polarization manifests itself in various aspects, not only historical, but above all axiological. We differentiate and value what is:

  • sustainable /unsustainable
  • old / new
  • permanent / ephemeral
  • orderly / chaotic
  • planned / spontaneous
  • invasive / neutral
  • homogeneous and stylish / heterogeneous and syncretic
  • sudden / expected
  • useful / useless
  • visible during the day or at night
  • noticeable while moving or resting
  • assessed from the outside or inside (by tourists / residents).

The different qualities can be internalized as values and hierarchized in various ways. Dynamics can be understood not only positively, but also destructively, because even such an aspect may generate qualities considered as positive after some time. These aspects include both modernization and reconstruction, and on the other hand, ruins, expansion of natural forms. In spite of the obvious volatility, don’t we expect a balance between what is permanent and what is changeable? How much can one allow oneself to introduce changes or modifications (perhaps it is not always worth to protect everything)? What changes are more readily accepted: functional or visual? What changes are more advantageous to our cities?

ABSTRACTS
Please submit your abstract via email using attached AEC5-Registration-form. Abstracts will undergo a peer review for selection or rejection by the conference committee.
A printed publication of the Conference abstracts will be available at the Conference. Only the attending and registered delegates are going to be published. All abstracts (maximum of 400 words) must contain the title of the proposed paper, the name of the author, a brief cv including current affiliation and the contact information (institutional affiliation, mailing address and email address).

PRESENTATIONS
All accepted and registered delegates will be presenting their papers at the Conference.
Presentations will be organized in sessions or panels of no more than 4 papers presented for 20 min and all followed by a 30 minute debate.

FULL PAPERS
The publication of full papers will be prepared after the Conference and authors will be notified if their papers are selected for further publication. Depending on the subject, we offer printing selected, double-reviewed papers in magazines: “On the w @terfront” (University of Barcelona), “Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica” (University of Lodz). See our previous papers.

REGISTRATION
All attending delegates must proceed with Registration and fee payment in order to present their papers at the Conference.

FEES & ACCOMODATION

CONTACT
Agnieszka Gralińska-Toborek Ph.D (Conference Secretary)
aestheticenergycity@uni.lodz.pl
Wioletta Kazimierska-Jerzyk Ph.D (Conference Chair)
wioletta.kazimierska@uni.lodz.pl 

The 5th International Conference “Aesthetic Energy of the City”:  Static and Dynamic Qualities of the City

Vol. 64 Núm. 1 (2022): Reintroducir el tranvía

Imbricación urbana del movimiento: continuidad, accesibilidad y estructuración en el Sistema de Tranvía de Ayacucho, Medellín

Emilio Reyes-Schade, Katheryn Gutiérrez-Torres, Padilla-Llano Samuel Esteban

Resumen

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.

DOI: 

https://doi.org/10.1344/waterfront2022.64.1.01

Emerging practices in public space projects: the case of via Argentina in Panama City

By José Antonio De Gracia DOI: https://doi.org/10.1344/waterfront2021.63.6.01

Cover Page

Abstract

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.

Keywords

Urban design; Public space; Pavement; Universal accessibility; Single platform; Via Argentina; Panama City.

Integrated Urban-Social Programs (PIUS) and Casa Analco (FABUAP). Two projects in the periphery and the centre of the city in search of citizen participation

Adriana Hernández Sánchez DOI: https://doi.org/10.1344/waterfront2021.63.5.01

Cover Image

Abstract

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.

Keywords

Puebla; México; participation; centre; periphery; process; management.

Citizens-based Assessment of a Renovation Facilitating Policy in Urban Deteriorated Areas: An Ordinal Logistic Regression Model

By Saeed Najd Ataei Sarkarabad, Elahe Rezaei, Kyoumars Habibi

DOI: https://doi.org/10.1344/waterfront2021.63.2.01

Cover Image

Abstract

This study tested which latent factors exist that could significantly impact the citizens-based performance assessment of the Neighborhood Renovation Service Office (NRSO) which is a renovation facilitating policy. Two hundred residents of Urban Deteriorated Areas (UDAs) in
Fallah & Yaftabad neighborhoods, were interviewed by questionnaires. To analyze the outcomes of the questionnaires, first, an Exploratory Factor Analysis (EFA) for identifying underlying factors for assessment of the mentioned policy and subsequently Ordinal Logistic Regression
(OLR) for modeling the factors concerning performance assessment were employed.


The residents who had more familiarity with the plans and policies evaluated the renovation office performance more positively. Also if NRSOs want to be assessed as more effective in their intervention they need to empower their interacting community’s socioeconomic factor.
The OLR model showed that the sense of place is another significant underlying factor in this regard. However, residency duration despite converging as a factor in EFA did not show any significant impact based on the OLR model.

Keywords

citizens-based assessment; renovation facilitating policy; Neighborhood Renovation Service Office (NRSO); Urban Deteriorated Areas (UDAs); Ordinal Logistic Regression (OLR)

Art in the streets

The busker seen by citizens: attitudes towards music street music in Spain (spanish)

Alicia Martínez Gil

Abstract

In this article, we will examine the results of a brief study of citizens’ attitudes, while developing the degree of exchange and satisfaction that exists of street music in Spain.

The continuous regulations and the new use of urban spaces have added value street music as artistic and cultural category. The public, in addition to establishing the criteria surrounding this musical practice, exposes the problems of social coexistence that this activity generates.

Keywords Public Space; Street Art; Urban sociology; street music

Public Art in Urban Regeneration. Piotrkowska street. Pride of a city: Łódź

Piotrkowska street is the centre of Łodz. A continuous axis of more than 4 km that runs through the territory from north to south. A long shopping street divided into two clearly differentiated sections. The first from Wolności Square to Centrum Piotrkowska (approx. 2km and cross section between 16 and 24m). The second from Centrum Piotrkowska to Niepodległości square (approx 2.2 Km and cross section between 25
and 30m). From the very beginning, the street was the central axis around which the city was developing, and its development spontaneously gave the present shape to its centre.

In the second section of the street, trams circulate and, despite having some important heritage facilities such as the “White Factory”, the former headquarters of the Karol Scheibler industries and today the
headquarters of the Central Textile Museum, it does not have the recognition that the first stretch.

The first section of the street is the one that appears in all tourist guides, is the commercial and cultural heart of the city, a favourite meeting place for Łódź residents and tourists. Here festivals, concerts, sporting
events, parties and fairs take place.

Piotrkowska street still is flagship of the urban regeneration processes in Łódź, along with Manufaktura, and the mega urban regeneration project Nowe Centrum, with the city’s new central station, the EC1 cultural
complex, and the expansion of the University of Łódź campus. Territory in which the Expo 2022 was to be developed, which will finally be held in Buenos Aires. Piotrkowska’s urban regeneration process clearly incorporates a public art strategy. The particularity of this strategy lies in its contents, specifically those who propose, manifest or emphasize the “pride of the city”.

Keywords

Piotrkowska street; Lodz; Urban Regeneration; Public Art; Public Space

Centenary of the neighborhood EL PRADO (BARRANQUILLA)

BARRIO EL PRADO a Living Museum for the City of Barranquilla.

Samuel Esteban Padilla-Llano, María V. Machado-Penso, Emilio Reyes-Schade, Paola M. Larios-Giraldo, Irina Cabrera-Sánchez, Emerson Martínez-Palacios, Daniel González-Forero, Juan Tapias-Martínez

DOI: https://doi.org/10.1344/waterfront2020.62.6.3

Abstract

Barranquilla, a city located in an intertropical geographical latitude on the left bank of the Magdalena’s River mouth, is constituted as a conglomerate of pieces due to its urbanization processes. Processes that began an accelerated urban development during the first decades of the 20th century, without an Urban Plan for the management of its vast territory. In the absence of this, bourgeois neighborhoods are drawn up to allocate European Immigrants by the time that other informal neighborhoods appear spontaneously to allocate local and regional immigrants.
Among the bourgeois neighborhoods, El Prado neighborhood stands out, developed according to the urbanistic principles of the Modern Movement, following the Garden City model, it constitutes the main urban landmark of the city in the 20th century.

That is how El Prado is planned with a continuous urban layout and built in each of its properties, houses, and buildings of architectural styles like those built in the north American and British cities. Among these buildings, which are now patrimonial, stands out: the construction of fifty-four isolated houses for the Barranquilla elite, the El Prado Hotel and the opening of the Country Club.
The passing of time has generated functional transformations in the El Prado neighborhood that have modified its symbols and imaginaries. However, the declaration as an Asset of National Cultural Interest, through Resolution 0087 on February 2, 2005, has prevented the structural modification of its architectural heritage pieces, front gardens, courtyards, and most of the plant species, as well as the urban layout.

Nowadays there are a confluence of integrated and complementary manifestations that can be lived in the neighborhood and are conjugated with cultural activities developed in the urban space, activities that are linked with cultural and artistic scenarios which by the passing of the time have been set up in the neighborhood. This confluence has generated a synergy between the Garden City model, the typical daily residential life of the Caribbean that inhabits part of the architectural heritage, the culture hosted in heritage buildings and the wide open public spaces, reaffirming the living as a condition to be considered from the heritage understanding as a matter of future. An understanding that, also puts in value the human manifestations that are less recognized, since with it, the territory acquires other potentials. This is how the initiative of the Museo Vivo El Prado promotes this value as a process of urban regeneration.


The potential value of the living, structured under the concept of Museum, through the process of urban regeneration, includes the El Prado neighborhood as a territory of key opportunities in cultural management and innovation, through the startup of other economic models that exclude the possibility of gentrification. That is how this research is immersed to an in-depth study of urban regeneration, the understanding of the image of the city as a piece of art and the research on the significance of museums in different instances. Concretizing this way, the conception of the Living Museum as the meaning of urban space that firstly, does not take its collection out of context, but in opposition, is generated around itself, taking advantage of the dynamic, symbiotic, socially balanced spatial and cultural systems in which democratic and spontaneous dynamics that develop, grounds and support an economic, natural and cultural equilibrated system. It is not a matter of creating an untouchable inert environment, but to allowing actions and relationships between visitors and inhabitants that enhance those dynamics.
This is how The Museo Vivo El Prado, proposed as a cultural and creative innovation district, will not only generate impact and economic retribution, but it will also make possible the transformation of collective imaginaries, founding their identities and consolidating their image. That will be favored by its initial urban planning energized by the ways of living that happens in this heritage environment, letting it being recognized as its “own brand”, from the territorial marketing, in terms of recognition and promotion within the city, by the incentive of the ‘Orange economy’ that is one of the Colombian National Government goals


In this way, the Museo Vivo El Prado is projected from the understanding of the heritage as a matter of future, standing apart from the traditional concept of a museum, this is, as a static, inert and inanimate concept that takes out the collection of its context and uses the buildings as a supports for other artwork. In Opposition the Museo vivo El Prado places the concept of the museum in the dimension of urban management and regeneration combined with creative economy processes, to be handed over to a democratic, public, open-air space. That is how the urban space is the museum itself, its limits are the territory on which the heritage is administratively placed and the sky as its upper border.

PUBLIC ART IN EL PRADO NEIGHBORHOOD (BARRANQUILLA) Exercise in style

Antoni Remesar

DOI: https://doi.org/10.1344/waterfront2020.62.6.4

Abstract

This article aims to study the public art of the El Prado neighbourhood in Barranquilla. For this, the general urban context of the city is analysed, including samples of public art from other urban areas of this city.


The article is structured as an “exercise in style” that puts into dialogue “feeling” and “knowing”. A feeling derived from the experience on the territory obtained in three trips to this city, which is complemented by the analytical knowledge derived from the study of the different issues raised. That is why, from the point of view of reading, a differentiation has been made in typography and its colour. The Calibri light font in black describes the sensations of a gadabout, a Spanish term close to the Baudelairdian flâneur but without its elite charge, immersed in territory. The Courier typography in garnet, contrasts the information obtained sensory with the used analysis documentation.