Arte colaborativo y Distritos culturales. Revisitando algunas fuentes

The reflection on the collaborative calls for a review of the contemporary roots of the concept (Kropotkin) and its development (Ostrom). It is the core of our study. Another section is dedicated to some theorists of Cultural Districts (Sacco, Ferilli) who seem to make possible the passage from the "isolated one-subject" to the "we-working together-collective", reviewing their level of differentiation. The objectives of the study are: to characterize the scope of the collaborative through its sources; select some of the main notions of the collaborative universe; revisit them highlighting features provided; point out aspects of the current theory of the Districts, in order to the compatibility or discrepancy with the collaborative. The theoretical focus of the research calls for a methodology based on the management of the legacy of knowledge that supports collaborative actions, as well as the development of cultural districts. Sequencing supposes rereading in historical development of source texts of key, founding and current collaborative theories; selection of fragments that characterize the identifying notions; choice of theorists of Cultural Districts that allow a suitable analysis with respect to objectives; critical presentation of the theoretical aspects of compatibility or disparity from the theory of Districts, in relation to the collaborative world. La reflexión sobre lo colaborativo insta a la revisión de las raíces contemporáneas del concepto (Kropotkin) y su desarrollo (Ostrom). Es el núcleo de nuestro estudio. Otra sección está dedicada a algunos teóricos de Distritos Culturales (Sacco, Ferilli) que parecen posibilitar el paso del “uno-sujeto aislado”, al “nosotros-trabajando juntos-colectivo”, Revisando su nivel de diferenciación. Los objetivos del estudio son: caracterizar el ámbito de lo colaborativo a través de sus fuentes; seleccionar algunas de las principales nociones del universo colaborativo; revisitarlas destacando características aportadas; señalar aspectos de la teoría actual de los Distritos, en orden a la compatibilidad o discrepancia con lo colaborativo. El enfoque teórico de la investigación insta a una metodología basada en el manejo del legado de conocimientos que sustenta las acciones colaborativas, así como el desarrollo de los distritos culturales. La secuenciación supone relectura en desarrollo histórico de textos-fuente de teorías colaborativas clave, fundadoras y actuales; selección de fragmentos que caractericen las nociones identificativas; elección de teóricos de Distritos Culturales que posibiliten un análisis idóneo respecto a objetivos; presentación crítica, de los aspectos teóricos de compatibilidad o disparidad desde la teoría de los Distritos, en relación al mundo colaborativo.

Procesos artísticos participativos y colaborativos en los distritos culturales de Burdeos y Nantes

This paper analyses the burgeoning impulse, in the main cultural districts of Bordeaux and Nantes, of participative and collaborative art practices. Such adjectives are not synonymous but, true enough, it is sometimes difficult to differentiate these two categories of relational art; moreover, co-working spaces could literally be considered another kind of collaboration process. All in all, beyond terminology matters, the aim of this essay is to point out the flourishing of combined official and community-based initiatives. A model of arts-led urban revitalisation seeking greater involvement of the local ecosystem shaping a “cultural district”, as alternative to the paradigm of the singular institutional trigger worldly identified with the Guggenheim-Bilbao. Nowadays there are many counter-examples in Bilbao and in French cities on the Bay of Biscay. Este artículo analiza el prolífico impulso en los principales distritos culturales de Burdeos y Nantes del arte participativo y colaborativo. Tales adjetivos no son sinónimos, pero es cierto que a veces es difícil diferenciar estas dos categorías de arte relacional; por otro lado, los espacios de co-working podrían ser designados, al pie de la letra, como otro tipo de proceso de co-laboración. Con todo, más allá de la terminología, lo que pretende esta reflexión es constatar el florecimiento de iniciativas oficiales y de base comunitaria combinadas. Un modelo de revitalización urbana a través de las artes con mayor involucración del ecosistema local formando un “distrito cultural”, como alternativa frente al paradigma del singular detonante institucional mundialmente identificado con el Guggenheim-Bilbao. Hoy día no faltan los contraejemplos bilbaínos y en ciudades francesas del golfo de Vizcaya.

SPATIAL SELECTION OF HERITAGE AND TRANSFER OF LOCAL IDENTITY: A DUAL CASE STUDY BASED ON TWO HISTORICAL AND CULTURAL DISTRICTS IN CITY F, CHINA

By comparing the successive development, government planning, and public expectations of two landmark historical and cultural districts in F city, this paper attempts to explore the state’s selection and cultural setting of heritage spaces, as well as the identity transfer of local residents in individual memory and collective creation. With case studies on historical districts of S and Y neighborhoods, this paper argues that the selection of heritage spaces is actually a borrowing of local history and culture by the state’s modernization tendency. With the extinction/reformation of the medium of identity, the aborigines struggle with disappearance of their place and the affirmation of heritage, eventually extending the boundaries of the meaning of “place” and shifting local identity to national and ethnic identity.

Research on Sustainable Development of Historical and Cultural District in Tunxi Old Street of Huangshan with Micro-Regeneration Concept

As the most influential commercial port center of ancient Huizhou, Tunxi Old Street is an important material carrier of Hui culture. In the current optimization of urban stock, it is faced with problems such as the decline of regional culture and the homogeneity of spatial form. By combing the historical evolution and value characteristics of Tunxi Old Street, introducing the concept of microregeneration, exploring the strategy of micro-regeneration of historical and cultural districts, this paper realizes the sustainable development of district from three dimensions of urban venation restoration, node space activation and building characteristics shaping, which can provide reference for the regeneration of other historical and cultural districts.

PROGETTO DI ISTITUZIONE DI DISTRETTI CULTURALI EUROPEI. IL DISTRETTO CULTURALE GOMOSAICO DI GORIZIA

It is here presented the hypothesis of establishing European cultural districts. Its purpose is to systematically valorize the cultural heritage of their territories end their people. The proposal is innovative with contribution to economic and civil life. A cultural district with Gorizia as capital is given as significant exemple. Its importance is that it originates from the tradition of ancient Aquileia and that is meeting point between three very important ethnic groups: Latin, German, Slavic. It is a district of symbolic value also for the enhancement of the strategic axis for Europa “Mitteleuropa-Mediterranean”.

Beyond Artwashing: An Overview of Museums and Cultural Districts in Arabia

In recent years many cities have a empted to integrate cultural developments within their overall planning strategy. Within the wider Arab region, the Gulf Arab states have been at the forefront of such developments, which they see as a way of diversifying their economies. Through such initiatives the region is also se ing its sights on claiming the mantle as the Arab world's cultural leader. Large-scale institutions and the smaller spaces of art districts are seen as a way to modernize the Gulf states' local populations and integrate them within a wider cultural context. Yet such approaches have risks such as gentrification and potential marginalization of a larger part of the population who may see themselves excluded from cultural spaces. This paper aims to unpack these issues by situating the development of spectacular museums ('big spaces') and art districts ('small spaces') in the Gulf region within a wider global context. It is structured in three parts. First, a theoretical exploration looks at the changing nature of museums in the twenty-first century, and the proliferation of art districts as a way of a racting creatives and spurring economic and urban development. Second, the paper reviews the global spread of creative districts, distinguishing between planned and organic developments. The third and main part shifts the discussion to the Gulf Arab states, where the proliferation of museums and art districts is presented in more detail, se ing their development within a wider context. The conclusion outlines a series of directives that could lead the Gulf to the forefront of an urban renaissance in the region. Yet for that to happen there needs to be a substantial shift in their overall planning paradigm, including accounting for 'artwashing'.