DOCSLIB.ORG

POLITECNICO DI TORINO Repository ISTITUZIONALE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
POLITECNICO DI TORINO Repository ISTITUZIONALE POLITECNICO DI TORINO Repository ISTITUZIONALE The socio-spatial relations of innovative artistic production in Piedmont and Liguria Original The socio-spatial relations of innovative artistic production in Piedmont and Liguria / Pazzola, GIAN GAVINO. - (2019 Mar 22), pp. 1-213. Availability: This version is available at: 11583/2731328 since: 2019-04-19T11:48:40Z Publisher: Politecnico di Torino Published DOI:10.6092/polito/porto/2731328 Terms of use: openAccess This article is made available under terms and conditions as specified in the corresponding bibliographic description in the repository Publisher copyright (Article begins on next page) 04 August 2020 Doctoral Dissertation Doctoral Program in Urban and Regional Development (30th Cycle) The socio-spatial relations of innovative artistic production in Piedmont and Liguria Gian Gavino Pazzola * * * * * * Supervisors Prof. Carlo Salone.,Supervisor Prof. Giovanna Segre, Co-Supervisor Doctoral Examination Committee: Prof. Phil Jones, Referee, University of Birmingham Prof. Elsa Vivant, Referee, University of Paris-Est Prof. Enrico Eraldo Bertacchini, Member, Università di Torino Prof. José Luis Molina, Member, Universitat Autònoma de Barcelona Prof. Davide Ponzini, Member, Politecnico di Milano Politecnico di Torino February 23, 2019 This thesis is licensed under a Creative Commons License, Attribution - Non- commercial - No Derivative Works 4.0 International: see www.creativecommons.org. The text may be reproduced for non-commercial purposes, provided that credit is given to the original author. I hereby declare that, the contents and organisation of this dissertation constitute my own original work and does not compromise in any way the rights of third parties, including those relating to the security of personal data. ………………………………..... Gian Gavino Pazzola Turin, February, 2019 2 Summary Over the years, creativity has been shown as a central concept for urban regeneration strategies and economic development plans. Arts and culture have become important drivers for economic growth and social inclusion, and several local policymakers have been attracted by culture-led urban development to stimulate places attractiveness. After almost thirty years of applications, the “creative city” and “creative class” concepts have been deeply studied, revealing interesting results as well as unwelcome surprises. In the meantime, “supporters” of this development scheme looked at opportunities represented by real-estate operations in urban renewals of abandoned and/or underused areas, with growing attention to self-entrepreneurial dynamics in cities’ labour market, more and more oriented to be characterized by creative people in action. In order to take advantage of these opportunities two factors should be ensured: the presence of investments of big companies available to settle their headquarters in the cities and, second, the existence of people attracted by the vibrant and positive environment in which they could live and work. On the other hand, strong critiques have been issued toward neoliberal dynamics embodied by the conceptual framework of the culture-led urban development schemes. If on the one hand a rhetoric has been developed to promote coolness and liveability of places and richness and freedom for workers, on the other hand scholars put their attention on gentrification processes, spatial inequalities, gender disparities and so on. Influenced by past industrial development schemes, economic and urban policies have been often developed referring to “creative clusters” and “cultural districts” as the main spatial unit of analysis, but several artistic practices work not only at the local scale involving actors within networks at different spatial levels. In this sense, our point of view about the innovative production process could be shifted, no more bounded in place but developed within a “space” that is generated through relations. The aim of this research is the analysis of the spatiality of social relations in contemporary innovative arts and cultural organizations and the pathways in which, through individual networks, they can exchange knowledge, information, and services with actors located in some other place. In this way, we could stress the mainstream conception of culture-led urban development with three objectives. First, we will observe independent cultural production as an emerging cultural system, i.e. those ecologies of creative workers and producers living in cities operating outside of (but more and more in collaboration with) institutional or market-oriented levels, taking into consideration their spaces and conditions. Second, we will investigate how rhizomatic and viral spaces such as networks, rather than fixed clusters, could influence the exchange of knowledge and resources in contemporary innovative cultural production. Considered the transient and fluid nature of artistic practices, we support the axiom that networks are a more appropriate spatial context within which creative projects can be practiced. Finally, adopting a micro-spatial theoretical approach, we will develop focus groups, surveys, and interviews with the aim of studying art innovators via social network analysis and individual network analysis methodologies. With the first attempt, we will reconstruct dynamics working inside a specific group of cultural organizations (winner of Bando ORA! – the first grant-in-aid in Italy oriented to support innovative artistic productions). Secondly, we rebuilt individual narratives for each actor, underlying nature and contents of the relations that have taken place inside the team-work. In this way, we are able to evaluate how geographical and cognitive proximity works inside innovative art production. In addition, several cultural organizations based in Birmingham (UK) have been interviewed to match findings with the Piedmont and Liguria context as a control measure of the research results. 1 2 Acknowledgment And I would like to acknowledge the essential contribution to this work by: Paola Borrione and Alessio Re from Silvia Santagata Research Centre for the Economics of Culture (CSS-EBLA), Turin - Italy; Francesca Gambetta from Compagnia di San Paolo Foundation, Turin - Italy; Catterina Seia from Fitzcarraldo Foundation, Turin - Italy; Prof. Giovanni Semi and Prof. Carlo Genova, Turin - Italy; Prof. Lidia De Candia, Alghero and Rome - Italy; Prof. Giovanni Attili, Rome - Italy; Bertram Niessen, researcher at Che Fare, Milan – Italy; Stefano Ragazzo and Giuseppe Grant, architects at Orizzontale Studio, Rome – Italy; Ugo Pitozzi, artistic director at Monferrarti – Italy; Girolamo Lucania, choreographer at OFF Topic Theatre, Turin – Italy; Matteo Casari, artistic director at Disorder Drama, Genova – Italy; Lucia Carolina De Rienzo, project manager at COORPI, Turin – Italy; Daniela Persico, curator at FilmIdee, Milan – Italy; Alessandro Stellino, movie director at FilmIdee, Milan – Italy; Andrea Graziano, designer, Turin – Italy; Vanessa Vozzo, artist and researcher at MultiDams e CIRMA, Turin – Italy; Michela Sacchetto, curator at Art.Ur, Cuneo, – Italy; Daniele Ninnarello, dancers and choreographer, Turin – Italy; Martina Angelotti, artistic director at CAREOF, Milan – Italy; Tiziana Casapietra, director at Museo della Ceramica, Savona – Italy; Luisa Perlo, curator at A.titolo, Turin – Italy; Luana Gravina, project manager at Docabout, Turin – Italy; Fabio Ferrero, project manager at Trentesimo, Turin – Italy; Gabriele Beddoes, choreographer, Naples – Italy; Lorenzo Facchinelli and Mara Ferrieri, performers, Trento – Italy; Valerio Del Baglivo, independent curator, Rome and Turin – Italy, and also Cheryl Jones, art director at Gran Union, Birmingham – UK; Ruth Claxton, artist and curator at East Side Project, Birmingham – UK; Antonio Roberts, curator at Vivid Project, Birmingham – UK; Karina Cabanikova and Stanislaw Malecki, director and curator at Centrala Art Space, Birmingham – UK; Anca Benera and Arnold Estefan, artists, Birmingham – UK; Anna Parker, architect at Intervention Architecture; Trevor Pitt, artist and art director at A3 Project Space. I would like to express my gratitude to the Institution of the Politecnico and Università of Turin for providing me the opportunity to grow with this PhD Program, and to attend enlightening courses, such as delivered by Professor Paolo Giaccaria, Professor Luigi Buzzacchi, Professor Carlo Salone, Professor Ugo Rossi and Professor Ugo Mela. My sincere thanks also go to Professor Phil Jones, who provided me the great opportunity to join their faculty as Visiting Researcher, at the School of Geography, Earth and Environmental Sciences at the University of Birmingham, UK. Her precious support has been crucial to the development of this work. I would also like to express my deep gratitude to Prof. Sara Bonini Baraldi, Politecnico of Turin, Prof. Zoran Djukanovic, Faculty of Architecture, University of Belgrade – Serbia; Prof. Alessandro Plaisant, Department of Architecture and Urbanism, Università of Sassari – Italy; Prof. Enrico Bertacchini, Department of Economics, Università of Turin – Italy; and Dr. Erblin Berisha, Dr. Anna Paola Quaglia and Camilla Guadalupi, Politecnico of Turin, – Italy; Dr. Irene Marti, Université de Neuchâtel – CH; Dr. Marianna Nigra, Politecnico of Turin; and Dr. Phil Emmerson, University of Birmingham – UK; and Dr. Agim Kërçuku, Politecnico of Milan for providing me useful insights and food for thoughts. I wish to thank also Bruno Cattari, Francesco e Gonare Marongiu, Gianni
Load more

Recommended publications
  • Sessions, Papers, and National Reports on the State of Classical Education
    II C I T R F M F ED 023 336 FL 001 035 By -Else, Gerald r Ed. Report of the Colloquium on the Classics in Education, 1965. American Council of Learned Societies, New York, N.Y. Pub Date Jan 66 Note -72p. EDRS Price MF -$050 HC -$3.70 Descriptors -AncientHistory,Classical Languages, Classical Literature, ConferenceReports, Foreign Countries, Grammar, Greek, History Instruction, *InternationalPrograms, Language Instruction, Language Programs, Latin, Teaching Methods This is the report of an international meeting on theClassics, conducted August 1965 in London, England. Resolutions adopted bythe Colloquium, minutes of group sessions, papers, andnational reports on the state of classicaleducation are presented. Group sessions discuss the teachingof classical languages, classical literatures, and ancient history and civilization.Special papers presented on some aspects of these topics includeDavid H. Kelly's "Grammar and Methodology:Kenneth Ouinn's 'The Nature of Literary Documents: andHW.Pleket's 'The Teaching of Ancient History: National reports (Including several inFrench and one in Italian) discuss the currentstateofclassicaleducation in Australiaand NewZealand,Brazil, Czechoslovakia, France, GerMany, Ghana, GreatBritain, Greece, Italy, Japan, the Netherlands, Spain, Sweden, and the UnitedStates. (AF) U.S, DEPARTMENT OF HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE DERSON OR ORGANIZATION ORIGINATING IT. POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION POSITION OR POLICY, REPORT OF THE COLLOQUIUM ON THE CLASSICS INEDUCATION 1965 7 7 7.77771,7777-7,71. 77777-7:717.4T.7.77r r - REPORT OF THE COLLOQUIUM ON THE CLASSICS IN EDUCATION 1965 edited by GERALD F.
    [Show full text]
  • Athens Programme 2016. the Art of Building Cities
    città THE ART OF BUILDING CITIES. THE CRAFTS OF TEACHING Lorenzo Degli Esposti The city, conceived in the Albertian sense as a large house just like the house is a small city, can be understood – as a whole or in its components – as the antithesis of two poles: the solid and the void, articulated on one side by an indistinct mass 2 or defined objects, on the other by an open space or delimited envelopes of air. The Andrea Palladio, Pyramidal site, from The Four Books of Architec-building, the edifice in general can likewise be considered in dialectical pairs, of a ture, Book II-XVII, 1570 body seen from the outside as a “thing” and of an enclosed and contained space perceivable from within, or in other words of an envelope made up of architectural elements and an inhabitable room. Both the city and the building are therefore readable according to alternative and complementary methods, which are nevertheless not mutually exclusive; indeed the oscillation between them is the richness of the architectural experience. If we consider the building positioned in the city, the ambiguity of each term remains: we can understand it as an isolated object, independent from the indistinct urbanized mass, or in the more rarefied infrastructural landscapes of the contemporary metropolis, or vice versa we can bring together buildings that form groups and continuous perimeters of the blocks, delimiting streets and squares, in turn open-air, circumscribed rooms. This bivalent relationship between the buildings and the city is iconically depicted in the seventeenth-century plans of Rome designed by Nolli and by Piranesi: the former paints in the background undifferentiated urban fabrics carved by the streets and perforated by squares and the interiors of public buildings; the latter orchestrates celibate typologies that paratactically resemble one another, occupying the entire urban space up to occluding the streets in the establishment of an immeasurable architectural forum.
    [Show full text]
  • Author's Response
    Dear Tiziana Lanza, Thanks for your useful review and very interesting suggestions. Your indications have been really appreciated, and included in the new version of the paper. In detail: Abstract We followed all your suggestions. We deleted part of the affirmation “The high participation and sharing in social networks and the attendance by a very large and varied audience, mostly without a scientific background, at our live shows, demonstrated a great interest in the geological history, resulting relevant for the development of geo-tourism.” We agree that, since we still did not collect the feedback of participants in a systematic way, this phrase could convey the readers to expect numbers, graphics and tables in the following text. We added some words to stress the importance of the conservation of the natural heritage (as Reeve suggested). Answering to Reeve: the abstract explains that the paper concerns about a teaching method and we illustrate some case studies, where we create a personal connection for the geo-sites in question. We inserted not here, but in the text, some data coming from the YouTube channel and from social network. Objectives and methods We modified the title in “Motivation and Objectives”, and changed accordingly the contents of the paragraph. We insert some sentences trying to answer to the requests of Reeve in “need and relevance” (Why is this “new approach” needed and what might it achieve?). We avoided speaking of a “new” approach, but we stressed some aspects of the working method of “our” approach. We also tried to clarify the main aim of our work.
    [Show full text]
  • Days & Hours for Social Distance Walking Visitor Guidelines Lynden
    53 22 D 4 21 8 48 9 38 NORTH 41 3 C 33 34 E 32 46 47 24 45 26 28 14 52 37 12 25 11 19 7 36 20 10 35 2 PARKING 40 39 50 6 5 51 15 17 27 1 44 13 30 18 G 29 16 43 23 PARKING F GARDEN 31 EXIT ENTRANCE BROWN DEER ROAD Lynden Sculpture Garden Visitor Guidelines NO CLIMBING ON SCULPTURE 2145 W. Brown Deer Rd. Do not climb on the sculptures. They are works of art, just as you would find in an indoor art Milwaukee, WI 53217 museum, and are subject to the same issues of deterioration – and they endure the vagaries of our harsh climate. Many of the works have already spent nearly half a century outdoors 414-446-8794 and are quite fragile. Please be gentle with our art. LAKES & POND There is no wading, swimming or fishing allowed in the lakes or pond. Please do not throw For virtual tours of the anything into these bodies of water. VEGETATION & WILDLIFE sculpture collection and Please do not pick our flowers, fruits, or grasses, or climb the trees. We want every visitor to be able to enjoy the same views you have experienced. Protect our wildlife: do not feed, temporary installations, chase or touch fish, ducks, geese, frogs, turtles or other wildlife. visit: lynden.tours WEATHER All visitors must come inside immediately if there is any sign of lightning. PETS Pets are not allowed in the Lynden Sculpture Garden except on designated dog days.
    [Show full text]
  • 35800 PKZ KA-8 BNF PNP Manual .Indb
    Ka-8 Instruction Manual / Bedienungsanleitung Manuel d’utilisation / Manuale di Istruzioni EN NOTICE All instructions, warranties and other collateral documents are subject to change at the sole discretion of Horizon Hobby, Inc. For up-to-date product literature, visit www.horizonhobby.com and click on the support tab for this product. Meaning of Special Language: The following terms are used throughout the product literature to indicate various levels of potential harm when operating this product: NOTICE: Procedures, which if not properly followed, create a possibility of physical property damage AND little or no possibility of injury. CAUTION: Procedures, which if not properly followed, create the probability of physical property damage AND a possibility of serious injury. WARNING: Procedures, which if not properly followed, create the probability of property damage, collateral damage, and serious injury OR create a high probability of superfi cial injury. WARNING: Read the ENTIRE instruction manual to become familiar with the features of the product before operating. Failure to operate the product correctly can result in damage to the product, personal property and cause serious injury. This is a sophisticated hobby product. It must be operated with caution and common sense and requires some basic mechanical ability. Failure to oper- ate this Product in a safe and responsible manner could result in injury or damage to the product or other property. This product is not intended for use by children without direct adult supervision. Do not use with incompatible components or alter this product in any way outside of the instructions provided by Horizon Hobby, Inc. This manual contains instructions for safety, operation and maintenance.
    [Show full text]
  • The Double in Late Nineteenth-Century Italian Literature: Readings in Fogazzaro and His Contemporaries
    The Double in Late Nineteenth-Century Italian Literature: Readings in Fogazzaro and His Contemporaries Samuel Fleck Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Samuel Fleck All rights reserved ABSTRACT The Double in Late Nineteenth-Century Italian Literature: Readings in Fogazzaro and His Contemporaries Samuel Fleck This dissertation is organized around main axes: the literary and critical concept of the Double and the analysis of Antonio Fogazzaro’s 1881 novel, Malombra, in which the Double plays a complex thematic role. In the first chapter, I address the concept of the Double as a critical category, assessing its meaning across three different levels of reality: in terms of the cultural specificity of the representation (the nineteenth century and Romantic literature), in terms of the theoretical approach (whether it is construed as a transcendental figure, as in Freudian theory, or a transgressive figure, as in Jungian theory, etc.) and in terms of its placement relative to the other themes in the text. In the second chapter, I take up the analysis of three Italian texts from the second half of the nineteenth century which privilege the theme of the Double and invest it with idiosyncratic meaning: Uno spirito in un lampone by Iginio Ugo Tarchetti (1867), Due anime in un corpo by Emilio de Marchi (1877) and Le storie del castello di Trezza by Giovanni Verga (1875). My reading of these texts draws on diverse psychoanalytic perspectives, namely those of Jung, Lacan and Abraham and Torok.
    [Show full text]
  • Parlamento Europeo
    16.9.2014 IT Gazzetta ufficiale dell'Unione europea C 317 / 1 IV (Informazioni) INFORMAZIONI PROVENIENTI DALLE ISTITUZIONI, DAGLI ORGANI E DAGLI ORGANISMI DELL'UNIONE EUROPEA PARLAMENTO EUROPEO INTERROGAZIONI SCRITTE CON RISPOSTA Interrogazioni scritte presentate dai deputati al Parlamento europeo e relative risposte date da un’Istituzione dell’Unione europea (2014/C 317/01) Sommario Pagina E-001945/14 by Mario Borghezio to the Commission Subject: Turkey and the 2013 meeting of the Bilderberg Club Versione italiana .......................................................................................................................................................................................... 15 English version ............................................................................................................................................................................................ 16 E-001947/14 by Mario Borghezio to the Commission Subject: The construction of Istanbul's third airport must conserve forest assets Versione italiana .......................................................................................................................................................................................... 17 English version ............................................................................................................................................................................................ 18 E-001951/14 by Mario Borghezio to the Commission Subject: Iraqi criminal welcomed in Turkey Versione
    [Show full text]
  • Kimsooja EDUCATION
    GALERIE TSCHUDI Chesa Madalena • Somvih 115 • 7524 Zuoz • t +41 81 850 13 90 • [email protected] Kimsooja EDUCATION Kimsooja was born in Daegu 1984–1985 (KR) in 1957 Lithography studio at École Nationale Supérieure des Beaux-Arts, Paris, France She lives and works in Paris (FR) and Seoul (KR) 1984 MFA at Graduate School, Hong-IK University, Seoul, South Korea 1980 BA at Painting Department, Hong-IK University, Seoul, South Korea SELECTED SOLO EXHIBITIONS 2020 We Do Not Dream Alone, Inaugural Asia Society Triennal, Asia Society, New York, USA To Breathe – Metz Cathedral, Metz, France, Public Art Commission To Breathe – RATP, Mairie de Saint Ouen Metro Station, Paris, Public Art Commission Kimsooja, Wanås Konst Sculpture Park, Wanås, Sweden – Site specific installation 2019 Traversées Kimsooja, Poitiers, France Archive of Mind, Peabody Essex Museum, Salem, USA Earth-Water-Fire-Air, Real Jardin Botanico - CSIC, Madrid, Spain Régie Autonome des Transports Parisiens, Porte de Saint-Ouen metro station, Paris, France To Breath, Yorkshire Sculpture Park, West Yorkshire, UK 2018 To Breathe – The Flags, Galleria Raffaella Cortese, Milan, Italy To Breathe / Respirare, Basilica di Sant’Eustorgio, Milan, Italy To Breathe – The Flags, Perth Festival, Perth, Australia Sewing into walking, The Art Gallery of Western Australia, Perth, Australia Kimsooja: Zone of Nowhere, Perth Institute of Contemporary Arts, Perth, Australia Frieze Sculpture 2018, Axel Vervoordt Gallery, London, United Kingdom Gazing Into Space, Axel Vervoordt Gallery, Antwerp, Belgium
    [Show full text]
  • Implantology Implantology Table of Contents
    IMPLANTOLOGY IMPLANTOLOGY TABLE OF CONTENTS Implant system 06 Prosthetic components 46 The range 18 Material composition 86 Surgical instruments 20 Bibliography on Sweden & Martina implants 90 Guide to the choice of prosthetic solutions 44 Sweden & Martina develops and manufactures implant systems that offer both excellent clinical functionality and perfect aesthetic results. The surfaces have been designed to obtain the best relationships between the surface roughness of the titanium and speed of bone healing. The surgical instruments are functional, easy to use and ergonomic. Training courses, continuous refresher courses and extensive assistance distinguish the service and reliability that have made Sweden & Martina a leader in the Italian implant market. Multifunctional mounter: The particular conformation of the Outlink2 mounter allows it not only to act as a carrier for the transport and positioning of the implant in its site, but also as a transfer for taking the impression and as post. The Outlink2 implant system is suitable for: - standard operating procedures involving the double or single surgical phase; - immediate loading; - post-extraction situations; - guided regeneration protocols; - Switching Platform. Outlink2 Shorty: The Outlink2 implant range also includes a line of short fixtures, ideal in the case of small vertical bone dimension. Wide range of fixtures: The Outlink2 implant system has a complete range of fixtures for diameters and heights, thus offering extremely versatile implant-prosthetic solutions. The Outlink2 implants are available in diameters 3.30, 3.75, 4.10 (with the two different connections, standard and SP) and 5.00, and in all heights from h 5 mm to h 18 mm. Cylindrical shape: The implant body is cylindrical with a conical apical conformation for greater ease of insertion, and its external hexagon connection allows it to be used in different clinical situations.
    [Show full text]
  • Corporate Headquarters 102 E. Keefe Ave. Milwaukee, WI 53212 USA P 800.558.6408 | 414.265.7620
    Diversatek Healthcare InnerVision®Transillumination System Page 2 Diversatek Healthcare InnerVision®Sistema de Page 7 Transiluminación Système de transillumination Diversatek Healthcare Page 12 InnerVision® Sistema di transilluminazione InnerVision® Diversatek Page 17 Healthcare InnerVision®Transilluminationssystem von Diversatek Page 21 Healthcare Diversatek Healthcare InnerVision®doorlichtsysteem Page 26 Corporate Headquarters 102 E. Keefe Ave. Milwaukee, WI 53212 USA P 800.558.6408 | 414.265.7620 [email protected] DiversatekHealthcare.com Made in the U.S.A. Part No. 063-0014W, Rev.F, 2019/01, ECO 1939 Diversatek Healthcare Innervision® Transillumination System Instructions for Use and Cleaning. Read carefully prior to use. CAUTION: Federal (U.S.A.) Law restricts this device to sale by or on the order of a physician. U.S. Patents #5,624,432; 5,718,666; International Patents #0 568 656; 69225583.4; 659,870; Additional international patents pending. FIGURE 1. INNERVISION TRANSILLUMINATION SYSTEM DESCRIPTION The Diversatek Healthcare InnerVision Transillumination System is designed to aid in the identification of the esophagus, rectum and other structures by transillumination during laparoscopy, thoracoscopy, or open procedures. When used in the esophagus, the InnerVision can also be described as a lighted bougie. The system consists of two (2) components: 1. InnerVision Fiber Optic Cable: Consists of a silicone elastomer fiber optic cable with a built-in extension cable, having a stainless steel tip connector at one end and a light source connector at the other end. Provided non-sterile. Reusable. Packaged one (1) cable per box. Available in 40 French, 50 French, and 56 French sizes . Available with a Circon-ACMI/Olympus light source connector, or .
    [Show full text]
  • Challenging the City Scale 2014-2018 Investigation Human Cities
    Human Cities Challenging the city scale Investigation 2014-2018 Helsinki Tallinn Human Cities Challenging the city scale Investigation 2014-2018 London Brussels Cieszyn Graz Ljubljana Saint-Étienne Milan Belgrade Bilbao State of the Art Introduction 5 Tools for participatory 9 provision of urban public spaces: Human Cities experience Prototyping the city: 27 goals and issues How to make bottom-up 57 initiatives viable and sustainable? Conclusion 79 Challenging the city scale – Investigation Introduction Since 2014, and thanks to the Creative Europe Programme of the European Union, the Human Cities_Challenging the City Scale project has been exploring the new and different ways urban dwellers can reclaim their urban space. Through the study of local actions initiated by communities, it promotes the development of an urban public space based on sustainability, conviviality, and solidarity. These values are shared by all the partners of a network that has kept growing since its creation: Cité du design Saint-Étienne [FR]; Politecnico di Milano, Milan [IT]; Urban Planning Institute of the Republic of Slovenia, Ljubljana [SI]; Clear Village, London [UK]; Zamek Cieszyn [PL]; Design Week Belgrade [RS]; Pro Materia, Bruxelles [BE]; Aalto University, Helsinki [FI]; FH Joanneum, Graz [AT]; Association of Estonian Designers, Tallinn [EST]; BEAZ/Bilbao- Bizkaia Design&Creativity Council, Bilbao [ES]; CultureLab, Bruxelles [BE]. After Celebrating the Public Space in 2006 and Reclaiming Public Space in 2010, the new pro- ject of the Human Cities programme, Challenging the City Scale questions urban scale and urban co-creation. Human Cities, a 12-partner network led by Cité du design Saint-Étienne since 2014, is a European project whose aim is to study how civil society, through community action, organises itself to regenerate the urban common space – a square, a street, or a neighbourhood, etc.
    [Show full text]
  • Foreword to 'Brave New World: New Visions in Architecture'
    The University of Manchester Research Foreword to 'Brave New World: New Visions in Architecture' Document Version Final published version Link to publication record in Manchester Research Explorer Citation for published version (APA): Milner, S. J. (2020). Foreword to 'Brave New World: New Visions in Architecture'. In M. Engle (Ed.), Brave New World: New Visions in Architecture (pp. 3-4). British School at Rome. Published in: Brave New World: New Visions in Architecture Citing this paper Please note that where the full-text provided on Manchester Research Explorer is the Author Accepted Manuscript or Proof version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version. General rights Copyright and moral rights for the publications made accessible in the Research Explorer are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Takedown policy If you believe that this document breaches copyright please refer to the University of Manchester’s Takedown Procedures [http://man.ac.uk/04Y6Bo] or contact [email protected] providing relevant details, so we can investigate your claim. Download date:11. Oct. 2021 AV R E B NEW WORLD Brave New World New Visions in Architecture AV R E B NEW A Programme of Lectures and Exhibitions: May 2018–September 2019 BSRWORLD Architecture Programme Contents Foreword 3 Stephen J Milner I am delighted to introduce this publication which is the Stephen result of the series of lectures, events and exhibitions which 5 Marina Engel took place at the British School at Rome between May 2018 10 Reinier de Graaf J Milner and September 2019 as part of the architecture programme.
    [Show full text]