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Descripción
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| ?The aim is to construct bridges between, on one hand, contemporary practices of art and design for urban public spaces, and, on the other, critiques of the city generated in disciplines such as urban sociology and geography, informed by critical theories of society and culture. Since the late 1960s, works of contemporary art and craft have increasingly been located in city squares and government buildings, corporate plazas, parks and garden festivals (?) that they contribute to urban regeneration.? ? Malcolm Miles, 1997 The following paper proposes a critic exploration of the transcendence of void and memory as two inseparable elements within the underlying structure of any collective space with long-term aspirations in terms of civic use. The exploration deals with three possible void types that can be found in our cities: rivers, streets and plazas. Throughout these three forms of public space we will discover the cultural manifestations put into practice in them. In order to sustain such argument, the article proposes a review of pairs of cases with which to establish the viability of areas of collective use within both the geographic landscape and time. The exploration is structured in three possible void types: a river, a street and a plaza. Through these three types we will explore three tensions between the visible and the invisible, between the barrier and the aperture, and between the inside and the outside, which are basic elements of the river, the street and the plaza, respectively. The overview on six architectural interventions will help not only to illustrate the referred voids with specific examples but also to support the thesis that their permanence in time as collective spaces is due to the efficient collaboration between an urban void with physical characteristics and a memory that is common to the citizens and that enables a link between the past, the present and the future in a timely continuum. The case studies include the Ghats in Varanasi, India (18th century) as a precedent that is still nowadays a magnetized space of the city of Varanasi; the MASP in São Paulo, by Lina Bo Bardi (1968); the Kulturhuset in Stockholm, by Peter Celsing (1975); the SESC Pompéia in São Paulo by Lina Bo Bardi (1968); the Pompidou Center in Paris, by Renzo Piano and Richard Rogers (1977) and the intervention in the High Line in New York, by Diller & Scofidio & Renfro with Field Operations (2009). | |
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Internacional
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Si |
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Nombre congreso
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13th International Conference on Urban History European Association for Urban History. Reinterpreting Cities |
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Tipo de participación
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960 |
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Lugar del congreso
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Helsinki, Finlandia |
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Revisores
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Si |
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ISBN o ISSN
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978-1-326-85075-3 |
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DOI
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Fecha inicio congreso
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24/08/2016 |
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Fecha fin congreso
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28/08/2016 |
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Desde la página
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1 |
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Hasta la página
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10 |
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Título de las actas
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13th International Conference on Urban History European Association for Urban History. Reinterpreting Cities |