Urban Landscape and Printed Press in Habsburg Lemberg: the Kotsko Memorial of 1912

2006 ◽  
Vol 33 (1-2) ◽  
pp. 53-70 ◽  
Author(s):  
Harald Binder
Keyword(s):  
Public Space ◽  
Urban Landscape ◽  
The Public ◽  
Political Events ◽  
Urban Minority ◽  
The Press ◽  
National Significance ◽  
Alternative Sites ◽  
The University ◽  
The City

AbstractThis article analyzes a political demonstration in Habsburg Lemberg commemorating the death of a Ukrainian student during fights at the university. The Ukrainians in Lemberg figured as an urban minority that claimed chief historical rights on the city, but was largely deprived of the chance to express this claim in public space. In this case, Lemberg's Ukrainians found two alternative sites to be suitable for the public expression of national self: the cemetery, a space largely outside the realm of political control, and a building in the city center of national significance to the local Ukrainian community. In these commemorations, the press played the role of transforming political events into consistent narratives that were in line with different groups' political intentions.

Precarious, fragile and temporary interactions between the public sculpture collection of Santo Tirso and its non-specialized audience

2020 ◽  
Vol 6 (2) ◽  
pp. 95-111 ◽  
Author(s):  
Rita Costa
Keyword(s):  
Public Space ◽  
Fine Arts ◽  
Ongoing Research ◽  
Physical Relationship ◽  
The Public ◽  
Museum Displays ◽  
Online Archive ◽  
Contemporary Sculpture ◽  
The University ◽  
The City

The following article depicts ongoing research from the project Quiet Dialogues, part of a Ph.D. thesis in artistic education in the Faculty of Fine Arts of the University of Porto. Quiet Dialogues is a project that aims to map, explore and materialize the interactions that occur between the passer-by audience of the city and the International Museum of Contemporary Sculpture of Santo Tirso. The project’s resulting map will be in a public online archive showcasing all the interactions collected during the research. As the museum displays its artworks in the public space, this research explores three behavioural categories the audience may react towards the artwork. They are as follows: a mental relationship (a stand-off with the memory), a physical relationship (using the sculpture as shelter or support) and a playful interaction (using the sculpture as a game or in a ludic approach).

scholarly journals Valoración de la Calidad Visual del Paisaje Urbano de Interés Patrimonial = Valuation of the visual quality of the urban landscape of patrimonial interest

2020 ◽  
pp. 4
Author(s):  
Josué Eliseo Llanque Chana
Keyword(s):  
Public Space ◽  
Latin American ◽  
Urban Landscape ◽  
Visual Quality ◽  
Urban Life ◽  
The Public ◽  
Psychological Attributes ◽  
American Heritage ◽  
The City

ResumenLos centros históricos latinoamericanos, unas de las creaciones más interesantes de nuestra cultura, se enfrentan a profundas mutaciones físicas, sociales, funcionales, medioambientales y sobre todo paisajísticas. El paisaje del espacio público como lugar descubierto, generalmente rodeado de edificios, decorado por estatuas, fuentes, áreas de estancia, vegetación, etc., y destinado al embellecimiento de una ciudad, ha sido concebido para que los ciudadanos se reúnan a percibir la ciudad y a observar el espectáculo arquitectónico de sus principales edificios monumentales. El objetivo de la presente investigación es proponer una nueva metodología para la valoración de la calidad visual del paisaje urbano en áreas de interés patrimonial, considerada desde la visión, que se complementa con otros atributos físico-ambientales, visual-estéticos y socio-psicológicos. Adicionalmente, la calidad visual constituye un componente de la calidad ambiental y de la vida urbana que fomenta el sentido de pertenencia de las personas con su medio natural y construido. Su aplicación a los espacios patrimoniales latinoamericanos lo convierten en una nueva herramienta metodológica para su adaptación.AbstractThe historical centers of Latin America, some of the most interesting creations of our culture, face profound physical, social, functional, environmental and especially landscape changes. The landscape of the public space as a discovered place, generally surrounded by buildings, decorated by statues, fountains, living areas, vegetation, etc., and intended to beautify a city, has been conceived so that citizens come together to perceive the city and to observe the architectural spectacle of its main monumental buildings. The objective of this research is to propose a new methodology for the assessment of the visual quality of the urban landscape in areas of heritage interest, considered from the perspective, which is complemented with other physical-environmental, visual-aesthetic and socio-psychological attributes. Additionally, visual quality constitutes a component of environmental quality and urban life that fosters people's sense of belonging to their natural and built environment. Its application to Latin American heritage spaces make it a new methodological tool for its adaptation.

scholarly journals A pauta na capa: a mídia corporativa como porta-voz do controle e ordem social na cidade do Rio de Janeiro │ The agenda on first page: corporate media as the spokesman for control and social order in the city of Rio de Janeiro

2014 ◽  
Vol 10 (1) ◽  
Author(s):  
Marcio Castilho ◽  
Tatiana Da Silva Lima
Keyword(s):  
Public Space ◽  
Social Order ◽  
Rio De Janeiro ◽  
Security Policy ◽  
News Coverage ◽  
Public Security ◽  
Social Imagination ◽  
The Public ◽  
The Press ◽  
The City

RESUMO Busca-se avaliar o enquadramento jornalístico feito pelos jornais da mídia corporativa que legitimam e medeiam a pauta pública e a estratégia da política de segurança pública do Rio de Janeiro, recorrendo à cobertura de notícias sobre os protestos realizados nas ruas da cidade durante o “Junho Furioso”. A partir do uso de semânticas estereotipadas para noticiar o fato jornalístico pela imprensa, será avaliada a criação de um imaginário social coletivo como espaço público de disputa de hegemonia conforme a concepção gramsciana, criminalizando midiaticamente as áreas pobres da cidade do Rio de Janeiro para obtenção de um controle da ordem pública.Palavras-chave: Mídia corporativa; Hegemonia gramisciana; Política de Segurança Pública; “Junho Furioso”; Controle e ordem social.   ABSTRACT This article evaluates the journalistic framing by corportative media, which legitimize and mediate the public agenda and Rio de Janeiro's public security policy strategy, using the news coverage of the protests in the city streets ​​during the "Furious June". Drawing on the stereotypical use of semantics for journalistic fact reporting by the press, the creation of a collective social imagination will be evaluated as a public space of dispute for hegemony as in Gramsci's conception, mediatically criminalizing the poor areas of the city of Rio de Janeiro with the aim of controling public order.Keywords: Corportativa media; Gramsci's Hegemony; Public Security Policy; " Furious June "; Control and social order.

scholarly journals COMPOSITION OF PERMANENCES IN URBAN LANDSCAPE. PLAN FOR SAINT-DIÉ 1945–46

2016 ◽  
Vol 40 (2) ◽  
pp. 143-150
Author(s):  
Fabiola Gorgeri
Keyword(s):  
Public Space ◽  
Urban Landscape ◽  
Le Corbusier ◽  
Second World War ◽  
The Public ◽  
Historical Continuity ◽  
Urban Scene ◽  
The Relationship ◽  
The City ◽  
Second World

The relationship between new and existing in urban design is considered by Le Corbusier an opportunity for poetic composition through sequences of visual frames. The public space constitutes the connective tissue and the measure of perceived distance. The buildings are curtains and visual horizons in the territory: they can define the space in which the collective urban scene takes place. Project of soil and perceptive paths allow a paratactical composition of pieces, assembled according to the calibrated balance of spatial proportion; organic dynamicity of the nature and geometric sign refer both to the physical location of the settlement and baggage of historical references culturally shared. From the forties and after Second World War, the urban projects focus more on the consolidated city, or fragments of it, seeking a line of historical continuity with pre-existing environment. There are three kinds of permanences: the geographical aspects, the historical aspects derived from the specific territory and the cultural mnemonic references. So, the plan for Saint-Dié is an expressive example where the city is designed adding analogous shapes: a landscape, an atmosphere, where buildings and environmentterritory resonate mutually.

Conclusion

2018 ◽  
Author(s):  
Samuel Llano
Keyword(s):  
Public Health ◽  
Public Space ◽  
Social Conflict ◽  
Musical Performance ◽  
The Public ◽  
Political Interests ◽  
Musical Practices ◽  
The Media ◽  
The City

As is described in this conclusion, more than the media and culture, Madrid’s public space constituted the primary arena where reactions and attitudes toward social conflict and inequalities were negotiated. Social conflict in the public space found expression through musical performance, as well as through the rise of noise that came with the expansion and modernization of the city. Through their impact on public health and morality, noise and unwelcomed musical practices contributed to the refinement of Madrid’s city code and the modernization of society. The interference of vested political interests, however, made the refining of legislation in these areas particularly difficult. Analysis of three musical practices, namely, flamenco, organilleros, and workhouse bands, has shown how difficult it was to adopt consistent policies and approaches to tackling the forms of social conflict that were associated with musical performance.

Conquering the Public Space

2018 ◽  
Author(s):  
Samuel Llano
Keyword(s):  
Public Space ◽  
Social Services ◽  
Social Groups ◽  
Public Image ◽  
Working Classes ◽  
The Public ◽  
San Bernardino ◽  
The City

This chapter presents an account of the San Bernardino band as the public facade of that workhouse. The image of children who had been picked up from the streets, disciplined, and taught to play an instrument as they marched across the city in uniform helped broadcast the message that the municipal institutions of social aid were contributing to the regeneration of society. This image contrasted with the regime of discipline and punishment inside the workhouse and thus helped to legitimize the workhouse’s public image. The privatization of social aid from the 1850s meant that the San Bernardino band engaged with a growing range of institutions and social groups and carried out an equally broad range of social services. It was thus able to serve as the extension through which Madrid’s authorities could gain greater intimacy with certain population sectors, particularly with the working classes.

scholarly journals Activating Data through Eco-Didactic Design in the Public Realm: Enabling Sustainable Development in Cities

2021 ◽  
Vol 13 (8) ◽  
pp. 4577
Author(s):  
Carmela Cucuzzella ◽  
Morteza Hazbei ◽  
Sherif Goubran
Keyword(s):  
Sustainable Development ◽  
Public Space ◽  
Knowledge Exchange ◽  
Public Spaces ◽  
Public Realm ◽  
Design Data ◽  
Art And Design ◽  
The Public ◽  
Community Based Design ◽  
The City

This paper explores how design in the public realm can integrate city data to help disseminate the information embedded within it and provide urban opportunities for knowledge exchange. The hypothesis is that such art and design practices in public spaces, as places of knowledge exchange, may enable more sustainable communities and cities through the visualization of data. To achieve this, we developed a methodology to compare various design approaches for integrating three main elements in public-space design projects: city data, specific issues of sustainability, and varying methods for activating the data. To test this methodology, we applied it to a pedogeological project where students were required to render city data visible. We analyze the proposals presented by the young designers to understand their approaches to design, data, and education. We study how they “educate” and “dialogue” with the community about sustainable issues. Specifically, the research attempts to answer the following questions: (1) How can we use data in the design of public spaces as a means for sustainability knowledge exchange in the city? (2) How can community-based design contribute to innovative data collection and dissemination for advancing sustainability in the city? (3) What are the overlaps between the projects’ intended impacts and the 17 United Nations Sustainable Development Goals (SDGs)? Our findings suggest that there is a need for such creative practices, as they make information available to the community, using unconventional methods. Furthermore, more research is needed to better understand the short- and long-term outcomes of these works in the public realm.

Mocking Parades and the Place of Pagan Statuary in Late Antique Alexandria

2020 ◽  
Vol 24 (2) ◽  
pp. 270-288
Author(s):  
Jonathan Stutz
Keyword(s):  
Public Space ◽  
Urban Space ◽  
Religious Communities ◽  
Late Antique ◽  
Mob Violence ◽  
Visual Contact ◽  
The Public ◽  
Sacred Objects ◽  
The One ◽  
The City

AbstractWith the present paper I would like to discuss a particular form of procession which we may term mocking parades, a collective ritual aimed at ridiculing cultic objects from competing religious communities. The cases presented here are contextualized within incidents of pagan/Christian violence in Alexandria between the 4th and 5th centuries, entailing in one case the destruction of the Serapeum and in another the pillaging of the Isis shrine at Menouthis on the outskirts of Alexandria. As the literary accounts on these events suggest, such collective forms of mockery played an important role in the context of mob violence in general and of violence against sacred objects in particular. However, while historiographical and hagiographical sources from the period suggest that pagan statues underwent systematic destruction and mutilation, we can infer from the archaeological evidence a vast range of uses and re-adaptation of pagan statuary in the urban space, assuming among other functions that of decorating public spaces. I would like to build on the thesis that the parading of sacred images played a prominent role in the discourse on the value of pagan statuary in the public space. On the one hand, the statues carried through the streets became themselves objects of mockery and violence, involving the population of the city in a collective ritual of exorcism. On the other hand, the images paraded in the mocking parades could also become a means through which the urban space could become subject to new interpretations. Entering in visual contact with the still visible vestiges of the pagan past, with the temples and the statuary of the city, the “image of the city” became affected itself by the images paraded through the streets, as though to remind the inhabitants that the still-visible elements of Alexandria’s pagan topography now stood as defeated witnesses to Christianity’s victory.

Reconceptualizing the Public Spaces of New Urban Areas in Hanoi: The End or the New of Public-Making?

2021 ◽  
Vol 12 (1) ◽  
Author(s):  
Minh-Tung Tran ◽  
◽  
Tien-Hau Phan ◽  
Ngoc-Huyen Chu ◽  
◽  
...  
Keyword(s):  
Public Space ◽  
Urban Areas ◽  
Public Spaces ◽  
The Public ◽  
Doi Moi ◽  
The World ◽  
Relationship Of ◽  
The Relationship ◽  
The City ◽  
Neighborhood Level

Public spaces are designed and managed in many different ways. In Hanoi, after the Doi moi policy in 1986, the transfer of the public spaces creation at the neighborhood-level to the private sector has prospered na-ture of public and added a large amount of public space for the city, directly impacting on citizen's daily life, creating a new trend, new concept of public spaces. This article looks forward to understanding the public spaces-making and operating in KDTMs (Khu Do Thi Moi - new urban areas) in Hanoi to answer the question of whether ‘socialization’/privatization of these public spaces will put an end to the urban public or the new means of public-making trend. Based on the comparison and literature review of studies in the world on public spaces privatization with domestic studies to see the differences in the Vietnamese context leading to differences in definitions and roles and the concept of public spaces in KDTMs of Hanoi. Through adducing and analyzing practical cases, the article also mentions the trends, the issues, the ways and the technologies of public-making and public-spaces-making in KDTMs of Hanoi. Win/loss and the relationship of the three most important influential actors in this process (municipality, KDTM owners, inhabitants/citizens) is also considered to reconceptualize the public spaces of KDTMs in Hanoi.

scholarly journals Where the Sidewalk Ends: Automobility and Shame in Tbilisi, Georgia

2018 ◽  
Vol 33 (3) ◽  
pp. 444-472 ◽  
Author(s):  
Perry Maxfield Waldman Sherouse
Keyword(s):  
Social Media ◽  
Public Space ◽  
Ad Hoc ◽  
Private Company ◽  
Urban Public Space ◽  
Social Actors ◽  
The Public ◽  
Physical Barriers ◽  
The Many ◽  
The City

In recent years, cars have steadily colonized the sidewalks in downtown Tbilisi. By driving and parking on sidewalks, vehicles have reshaped public space and placed pedestrian life at risk. A variety of social actors coordinate sidewalk affairs in the city, including the local government, a private company called CT Park, and a fleet of self-appointed st’aianshik’ebi (parking attendants) who direct drivers into parking spots for spare change. Pedestrian activists have challenged the automotive conquest of footpaths in innovative ways, including art installations, social media protests, and the fashioning of ad hoc physical barriers. By safeguarding sidewalks against cars, activists assert ideals for public space that are predicated on sharp boundaries between sidewalk and street, pedestrian and machine, citizen and commodity. Politicians and activists alike connect the sharpness of such boundaries to an imagined Europe. Georgia’s parking culture thus reflects not only local configurations of power among the many interests clamoring for the space of the sidewalk, but also global hierarchies of value that form meaningful distinctions and aspirational horizons in debates over urban public space. Against the dismal frictions of an expanding car system, social actors mobilize the idioms of freedom and shame to reinterpret and repartition the public/private distinction.

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