scholarly journals Toppling the Past?:

2021 ◽  
Vol 28 ◽  
pp. 18-30
Author(s):  
Tony Ballantyne
Keyword(s):  
New Zealand ◽  
Public Space ◽  
Final Section ◽  
The Past ◽  
Queen Victoria ◽  
Indigenous Perspectives ◽  
The City

This article explores some of the recent debates over statues, memorials and cultures of commemoration in New Zealand. These 'statue wars' are particularly focused on explorers, military men, colonial governors, and even Queen Victoria herself, figures who are seen as being deeply implicated in the production of the persistent inequalities and pain that has resulted from colonialism and empire. My analysis particularly focuses on the city of Tūranga/Gisborne, James Cook's first landing place in New Zealand and a location where there has a sequence of heated debates over Cook's legacies and a series of attacks on statues of the navigator. It explores three ways in which the city's landscape of memory has been reshaped: the removal of a contentious 1969 statue, the creative redevelopment of a long-standing historic reserve, and the erection of a statue to a key Ngāti Oneone tupuna (ancestor). This discussion particularly highlights the work and arguments of the Ngāti Oneone historian and artist, Nick Tupara. The final section of the essay turns to the author's own location - Ōtepoti/Dunedin - and offers a reading of debates over statues in that city, underlining the pivotal importance of indigenous perspectives on history and public space.

Believing in Colin: “A Question of Faith” from “Celestial Lavatory Graffiti” to “Derridean Religious Addict”

2005 ◽  
Vol 18 (2) ◽  
pp. 175-197
Author(s):  
Mike Grimshaw
Keyword(s):  
New Zealand ◽  
Public Space ◽  
Contextual Theology ◽  
The Past ◽  
Secular Theology ◽  
Religious Paintings ◽  
Critical Responses ◽  
Christian Reconstruction

This essay critically evaluates responses to Colin McCahon's religious paintings over the past fifty years, from A. R. D. Fairburn's dismissal to Laurence Simmons' deconstruction, and beyond to the reception of “A Question of Faith”. McCahon's religious paintings have evoked an ever-changing response that, it is argued, reflects the debate on the role and position of religion and Christianity in both New Zealand society and the wider modern-postmodern world. McCahon's religious paintings of the 1940s were attempts to locate in New Zealand the postwar Christian reconstruction of society, and yet they were rejected by a society not ready for the articulation of a modernist contextual theology. In the 1970s McCahon's return to contextual theology again provoked polarised responses, in part because of his appropriation of Maori spirituality. Likewise, his use of text, as the location of revelation in public space, proved discomforting to a culture more comfortable with a view of itself as secular and of religion as marginalised, privatised and sectarian. More recently the embracing of McCahon by overseas critics and galleries as a major modernist religious artist has forced a reappraisal whereby he has been relocated as a Pakeha prophet While the paintings themselves have often been critiqued, little if any work has been done that reads the critics as articulating wider cultural and societal responses to God, religion and Christianity. This essay discusses the various “McCahon's” that have been articulated by critics and argues that in both McCahon's art and the various critical responses, there is the groundwork for an emergent Antipodean contextual secular theology.

Reorchestrating the Past

2021 ◽  
pp. 316-356
Author(s):  
Paul Giles
Keyword(s):  
New Zealand ◽  
Final Section ◽  
Musical Aesthetics ◽  
Baz Luhrmann ◽  
The Past ◽  
Great Gatsby ◽  
The Great Gatsby ◽  
Musical Modes ◽  
English Composers ◽  
Harrison Birtwistle

Taking its title from Australian novelist Alexis Wright’s description of her novel Carpentaria as a ‘long song, following ancient tradition’, this chapter considers how antipodean relations of place interrupt abstract notions of globalization as a financial system. The first section exemplifies this by focusing on Australian/American director Baz Luhrmann, whose version of The Great Gatsby (2013), filmed in Sydney, resituates Fitzgerald’s classic novel within an antipodean context. The second section develops this through consideration of Wright’s fiction, along with that of New Zealand/Maori author Keri Hulme, so as to illuminate ways in which spiral conceptions of time, where ends merge into beginnings, contest Western epistemological frames. In the final section, this ‘long song’ is related to the musical aesthetics of Australian composer Peter Sculthorpe and English composers George Benjamin and Harrison Birtwistle. The chapter concludes by arguing that musical modes are an overlooked dimension of postmodernist culture more generally.

scholarly journals Urban Embroidery: The Predicament Regarding the Incoherence of Wellington's Landscape

2021 ◽  
Author(s):  
◽  
Charlotte Grieve
Keyword(s):  
New Zealand ◽  
Inner City ◽  
Public Space ◽  
Local Context ◽  
Local Identity ◽  
Public And Private ◽  
Local Conditions ◽  
Design Language ◽  
Private And Public ◽  
The City

<p>Since Wellington’s establishment as a British colonial town in 1839 its townscape has evolved rapidly - becoming aesthetically complex, multifaceted and increasingly incoherent. New Zealand cities have characteristically borrowed an array of architectural ideas from other countries and applied them with little consideration of local context. In Wellington, as elsewhere, the result has been a townscape that has no common aesthetic base to build from and no shared design language. Yet from this aesthetic confusion, some informal but strong local typologies have emerged. In searching for an architectural solution to the problem of Wellington’s aesthetically incoherent townscape, this thesis takes the stance that it is these unique local typologies that must be built upon. Attention to local context and an awareness of site specifics are of most importance in the development of a strong design language for the city. The existing special qualities that give Wellington its personality must be carried through to develop a more coherent townscape. In this way local identity will eventually prevail and the aesthetics of the city will become something that speaks of clarity and truth. For logistical purposes, one particular block in the Te Aro neighbourhood has been focused upon. This thesis advocates an intimate understanding of place and so the site specifics of this block are looked at closely. The philosophy and methodology could be applied to other neighbourhoods and cities, with designs developed in response to their particular local conditions. Within the inner city there are many thresholds and blurred boundaries between what is private and public space. New Zealand cities are particularly interesting to study, because historically the inner city neighbourhoods have not been densely occupied for residential purposes. But this has been changing recently, and rapidly, in our larger cities. Te Aro is a good example of this trend. The relationships between public and private spaces within the city, and the spaces between these realms, are what this thesis is particularly concerned with. By applying the discipline of landscape architecture to revive and make use of these small, neglected interstitial spaces, it is hoped that the overall visual coherence of the inner city will be improved and some strong local typologies enhanced.</p>

scholarly journals Pengaruh Ruang Publik Terhadap Kualitas Visual Jalan Kali Besar Jakarta

Arsitektura ◽  
2017 ◽  
Vol 15 (2) ◽  
pp. 532
Author(s):  
Dedi Hantono
Keyword(s):  
Public Space ◽  
Quantitative Method ◽  
Visual Quality ◽  
Tourist Destination ◽  
Conservation Area ◽  
The Past ◽  
Historic Areas ◽  
The Government ◽  
The City

<em>Kali Besar is a river that stretches from South to North and there are two roads on both sides, namely: Jalan Kali Besar Barat and Jalan Kali Besar Timur. On the government's awareness of the importance of preservation of buildings and historic areas, since 2008 the City of Jakarta was established as a conservation area and became a tourist destination in Jakarta. Many things have been attempted by the government such as the improvement of public space which is to be one tourist destination for visitors to enjoy the atmosphere of the past. Above it then conducted a study to determine whether the influence of public space for the visual quality of the area, especially Kali Besar. This research uses quantitative method with post positivistic rationalist approach. The result of the research shows that there is influence of public space on visual quality in Kali Besar Jakarta area.</em>

Aesthetic uses of the past and limits in the reconstruction of historical spaces inside a videogame

2020 ◽  
Vol 9 (1) ◽  
pp. 004
Author(s):  
Alberto Venegas Ramos
Keyword(s):  
Video Game ◽  
Mass Culture ◽  
Culture Medium ◽  
Final Section ◽  
First Century ◽  
The Third ◽  
The Past ◽  
The Aesthetic ◽  
The City ◽  
Digital Spaces

Along the last years we have assisted to the release of a great number of videogames set in the past as, for example, Assassin’s Creed: Origins (Ubisoft, 2017). This game offered the player the possibility to tour the city of Alexandria during the first century before Christ. My intention in this text is to develop the use of the past in the reconstruction of urban digital spaces through three video-game sagas, BioShock (Irrational Games y 2K Marin, 2007 – 2013), Uncharted (Naughty Dog, 2006 – 2017) and Assassin’s Creed (Ubisoft, 2007 – 2017). Each one of them will serve us to develop and examine the aesthetic uses of the past in the reconstruction of urban digital spaces through the proposed concepts: design, consumption and production. Irrational Games’ saga will help us to understand the first concept, the Naughty Dog one the second and the Ubisoft one the third. After these three sections we will elaborate a final section where we will build the video-game as a mass culture medium with other media of same scope and shared features.

scholarly journals La ciudad colombiana ¿futuro sin pasado?

2015 ◽  
Vol 2 ◽  
pp. 49-57
Author(s):  
Luis Fernando González Escobar
Keyword(s):  
Public Space ◽  
General Context ◽  
Urban Architecture ◽  
The Past ◽  
Cultural Conditions ◽  
Urban Intervention ◽  
The World ◽  
The One ◽  
Relationship Of ◽  
The City

Resumen: La pregunta por la identidad y la tradición en tiempos de la urbanización, la velocidad y la globalización, es la que se plantea el autor para poner en cuestión qué está sucediendo con la intervención urbana en las ciudades colombianas. Se plantea un contexto general sobre las dinámicas del sistema mundo que han conducido a la denominada urbanalización y la manera como en la ciudad colombiana se adoptan de manera a crítica. Frente a lo cual el autor se pregunta si conceptos como identidad y originalidad tienen alguna pertinencia en nuestras realidades urbanas como condición de posibilidad. Una vuelta a la tradición no como regreso al pasado sino como lectura de las condiciones geográficas, paisajísticas, culturales y de memoria. Para reclamar una nueva relación pasado-presente-futuro de la ciudad y la arquitectura. ___Palabras clave: urbanización, globalización, espacio público, arquitectura urbana, formas de habitar, identidad, tradición. ___Abstract: The question of identity and tradition in times of urbanization, speed and globalization, is the one the author establishes to question what is happening with the urban intervention in Colombian cities. It arises a general context of the dynamics of the world system that have led to the so-called urbanalization and how in the Colombian city is adopted in a critical way. Against which the author wonders whether concepts such as identity and originality have any relevance in our urban realities as a condition of possibility. A return to tradition, not as a return to the past but as a reading of geographic, landscape, memory and cultural conditions. To claim a new past-present-future relationship of the city and architecture. ___Keywords: urbanization, globalization, public space, urban architecture, ways of living, identity, tradition. ___Recibido: 03 de agosto de 2015. Aceptado: 30 de octubre de 2015.

scholarly journals Temporary Public Spaces: A Technological Paradigm

2016 ◽  
Vol 1 (1) ◽  
pp. 63
Author(s):  
Philip Crowther
Keyword(s):  
Public Space ◽  
Environmental Sustainability ◽  
Urban Infrastructure ◽  
Public Spaces ◽  
Social Meaning ◽  
Ongoing Research ◽  
The Past ◽  
Architectural Tactics ◽  
The City ◽  
Key Questions

<p>Contemporary cities no longer offer the same types of permanent environments that we planned for in the latter part of the twentieth century. Our public spaces are increasingly temporary, transient, and ephemeral. The theories, principles and tactics with which we designed these spaces in the past are no longer appropriate. We need a new theory for understanding the creation, use, and reuse of temporary public space. More than a theory, we need new architectural tactics or strategies that can be reliably employed to create successful temporary public spaces.<br />This paper will present ongoing research that starts that process through critical review and technical analysis of existing and historic temporary public spaces. Through the analysis of a number of public spaces, that were either designed for temporary use or became temporary through changing social conditions, this research identifies the tactics and heuristics used in such projects. These tactics and heuristics are then analysed to extract some broader principles for the design of temporary public space. The theories of time related building layers, a model of environmental sustainability, and the recycling of social meaning, are all explored.<br />The paper will go on to identify a number of key questions that need to be explored and addressed by a theory for such developments: How can we retain social meaning in the fabric of the city and its public spaces while we disassemble it and recycle it into new purposes? What role will preservation have in the rapidly changing future; will exemplary temporary spaces be preserved and thereby become no longer temporary? Does the environmental advantage of recycling materials, components and spaces outweigh the removal or social loss of temporary public space? This research starts to identify the knowledge gaps and proposes a number of strategies for making public space in the age of temporary, recyclable, and repurposing of our urban infrastructure; a way of creating lighter, cheaper, quicker, and temporary interventions.</p>

scholarly journals Urban Embroidery: The Predicament Regarding the Incoherence of Wellington's Landscape

2021 ◽  
Author(s):  
◽  
Charlotte Grieve
Keyword(s):  
New Zealand ◽  
Inner City ◽  
Public Space ◽  
Local Context ◽  
Local Identity ◽  
Public And Private ◽  
Local Conditions ◽  
Design Language ◽  
Private And Public ◽  
The City

<p>Since Wellington’s establishment as a British colonial town in 1839 its townscape has evolved rapidly - becoming aesthetically complex, multifaceted and increasingly incoherent. New Zealand cities have characteristically borrowed an array of architectural ideas from other countries and applied them with little consideration of local context. In Wellington, as elsewhere, the result has been a townscape that has no common aesthetic base to build from and no shared design language. Yet from this aesthetic confusion, some informal but strong local typologies have emerged. In searching for an architectural solution to the problem of Wellington’s aesthetically incoherent townscape, this thesis takes the stance that it is these unique local typologies that must be built upon. Attention to local context and an awareness of site specifics are of most importance in the development of a strong design language for the city. The existing special qualities that give Wellington its personality must be carried through to develop a more coherent townscape. In this way local identity will eventually prevail and the aesthetics of the city will become something that speaks of clarity and truth. For logistical purposes, one particular block in the Te Aro neighbourhood has been focused upon. This thesis advocates an intimate understanding of place and so the site specifics of this block are looked at closely. The philosophy and methodology could be applied to other neighbourhoods and cities, with designs developed in response to their particular local conditions. Within the inner city there are many thresholds and blurred boundaries between what is private and public space. New Zealand cities are particularly interesting to study, because historically the inner city neighbourhoods have not been densely occupied for residential purposes. But this has been changing recently, and rapidly, in our larger cities. Te Aro is a good example of this trend. The relationships between public and private spaces within the city, and the spaces between these realms, are what this thesis is particularly concerned with. By applying the discipline of landscape architecture to revive and make use of these small, neglected interstitial spaces, it is hoped that the overall visual coherence of the inner city will be improved and some strong local typologies enhanced.</p>

scholarly journals THE PLANETARY GARDEN. WHERE NATURAL AND HUMAN INTERTWINE

2016 ◽  
Vol 42 (1) ◽  
pp. 70-79 ◽  
Author(s):  
Ramón PICO
Keyword(s):  
Public Space ◽  
Le Corbusier ◽  
Human Action ◽  
New Era ◽  
The Past ◽  
New Public ◽  
Man And Nature ◽  
Aerial Observation ◽  
Definition Of ◽  
The City

Spring 1935. After twenty-five years of fascination for heights and six of flying, stimulating experiences, Le Corbusier published Aircraft, a real “Manifesto for a New Era”, according to his own words. Even though Vers une architecture had limited the aeronaoutic model validity to the framework of housing and easthetics ten years before, the reference then was expanded to the city and its fitting within the natural framework, to the definition of a new global habitat in which public space became the focus.The flying experience allowed him to look into the past and find the subtle balance of man and nature. Revelation and rebellion at the same time. Thanks to the new visual as well as mental perspective provided by height, he would drive his reflec-tions towards “geoarchitecture”, a definitive, Humboldtian approach to Earth.His aerial observation of the Algerian M’Zab valley or the layout of the settlements along the Paraná crystallised both into texts such as Sur les quattro routes, Aircraft or Les trois établissements humains, and a series of proposals for Rio, São Paulo, Montevideo, Buenos Aires and Algiers. Epic adventures through which, and connecting with the interest of those geographers worried about reclaiming human action on the writing on the Earth through his “establishments”, Le Corbusier tackled the configuration of a new public space beyond the limits of the traditional city, claiming for a new planetary order.

scholarly journals SFM PHOTOGRAMMETRY AS A TOOL FOR THE CONSERVATION OF THE CULTURAL HERITAGE OF BOGOT&#193; (COLOMBIA), WITHIN THE FRAMEWORK OF THE ADOPT A MONUMENT PROGRAM

2019 ◽  
Vol XLII-2/W17 ◽  
pp. 363-370
Author(s):  
L. D. Tavera ◽  
A. Páez ◽  
L. A. Rocha ◽  
L. A. Dallos ◽  
J. D. Gonzales ◽  
...  
Keyword(s):  
Cultural Heritage ◽  
Public Space ◽  
Three Dimensional ◽  
Future Generations ◽  
Public Place ◽  
The Public ◽  
The Past ◽  
Initial Expectation ◽  
Dimensional Reconstruction ◽  
The City

Abstract. As stated by the UNESCO, cultural heritage is both a product and a process that provides societies with a wealth of resources that are inherited from the past, they are currently created present and transmitted to future generations for their benefit. According to its needs each country has regulated and taken actions aimed at preserving its heritage (UNESCO,2017). In the case of the city of Bogotá, different regulations have been enacted seeking to protect and preserve the cultural heritage. Recently, the Instituto Distrital de Patrimonio Cultural (IDPC) (District Institute of Cultural Heritage), with the Secretaria de Planeación Distrital and the Instituto de Desarrollo Urbano, began developing work of an inventory and valuation of the sculptures and monuments found in the public space of Bogotá. In this context, this project seeks to contribute, from the academy, in the virtualization of the cultural heritage of the city by using the Photogrammetry SfM. For this purpose, two emblematic monuments of the city have been selected in order to reconstruct them three-dimensionally and therefore contribute to their conservation as a heritage. The chosen monuments correspond to a replica of the sculpture of San Agustín No. 28 which represents the God of War of that culture and the Rebeca, first nude located in public place in Bogota. Several images were taken from each monument, using different device and software’s. The product obtained meets the initial expectation of three-dimensional reconstruction and establishes a workflow to be applied to other monuments in the city or anywhere.

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