[n° ou bulletin]
| Titre : |
N°1039(2019:octobre) - 2019-10-01 - Solo noi possiamo fare le città = Only we can make the new cities |
| Type de document : |
texte imprimé |
| Année de publication : |
2019 |
| Langues : |
Italien (ita) Anglais (eng) |
| Catégories : |
Aménagement du territoire -- Shanghai (Chine) -- 21e siècle
Anastassiades, Michael (1967-....)
Architecture -- Chine -- Dessins et plans -- 21e siècle
Architecture -- Dessins et plans
Architecture durable
Art -- Aspect social -- 21e siècle
Art dans la rue -- 21e siècle
Cartographie -- Informatique
Constructions -- 21e siècle
Constructions en verre
Croissance urbaine -- Inde -- Aspect environnemental
Data visualisation -- Cartographie
Design -- 21e siècle
Design durable
Design industriel -- 21e siècle -- Dessins et plans
Designers -- 21e siècle
Écoconception
Escaliers extérieurs
JR (1983 - ....)
Matières plastiques -- Déchets -- 21e siècle
Matières plastiques -- Industrie et commerce -- 21e siècle
Mobilité spatiale -- 21e siècle -- Cartes
Musées -- Shanghai (Chine)
Rives -- Aménagement -- Huangpu (Chine ; cours d'eau)
Urbanisme -- 21e siècle
Urbanisme -- Aspect économique
Urbanisme -- Aspect social
Urbanisme -- Istanbul (Turquie)
Urbanisme -- Medellín (Colombie)
Urbanisme durable
Villes -- Aspect environnemental
|
| Index. décimale : |
7 Arts et Beaux-Arts |
| Note de contenu : |
Many people maybe think that cities are made of concrete, stone, and brick – and fixed by ‘others’: politicians, bureaucrats and developers. But the city is made of people; concrete, stone, and brick is only needed to let them live in such close proximity. Few artists who show this ethos better than JR. His style of “graffiti” – in which he pastes enlarged photographs, usually of people, onto buildings and around the city – literally humanizes our urban environments. In this way, JR reminds us who makes the city.
In this issue we see how an enlightened initiative in Medellín has turned areas around the city’s water storage tanks into beautiful ( and much-needed) open spaces and facilities for public use. Thanks to Medellín’s topography, many of these spaces offer astonishing views over the city.
Another way a city can change for the benefit of its citizens is by improving transport. Good mobility allows people to access equal opportunities and to make sustainable choices. But how should a city approach this? In each city the challenges and opportunities are different. Mobility In Chain introduces us to four very different cities (in North America, Europe, and Africa) which have each taken a different approach to mobility with interesting results.
Many people maybe think that cities are made of concrete, stone, and brick – and fixed by ‘others’: politicians, bureaucrats and developers. But the city is made of people; concrete, stone, and brick is only needed to let them live in such close proximity
Those are ways that people have received better urban environments thanks to those with power. But not all of those in power are so generous. Fortunately, some people are occasionally lucky enough to replace those people. In this issue we feature an interview with Ekrem İmamoğlu, whom the people of Istanbul elected as their new mayor this summer. It is the first time in 15 years that Istanbul’s mayor has not been a representative of Recep Tayyip Erdogan’s AK party – a “celebration of democracy”, as İmamoğlu called it when he took office. In the interview he tells us of his plans for the city, many of which centre on the citizens: social housing, pedestrian spaces, and open, transparent competitions to redesign public spaces.
Taking control of the city is not always simple. Sometimes people have to fight for transparency in new developments, and for spaces that put their concerns first. An interesting example is the Quayside district in Toronto, being produced by Sidewalk Labs (a sister company of Google). Google sees the Quayside District as a “human-centred” plan with smart technological solutions to improve the public realm. But the community has been worried by a lack of transparency, a lack of community consultation and privacy issues. They have maintained an impressive resistance – showing there is an important difference between being told that something is good for you, and getting to decide what is good for yourself.
The effects of a fire in the rainforest of Mandacaru, state of Mato Grosso, Brazil, September 2019. Photo Victor Moiyama/The New York Times/Redux/Contrasto
Domus 1039 is entitled “Only we can make the cities”. In his editorial Winy Maas reminds us that cities are made of people and not of concrete, stone and brick, only needed to let people live in proximity. He introduces the work by JR, the artist who pastes huge photographs of people onto buildings and around urban environments, reminding who makes the city.
The requalification of the periphery of Medellín, in Colombia, led by the Articulated Life Units, is a social urban planning at the service of the community, and the regeneration plan for the Huangpu riverside makes Shanghai the new cultural metropolis of Asia. The interview with Ekrem İmamoğlu, the new mayor of Istanbul, deals with the sustainability of the city, the traffic congestion and the shortage of affordable housing.
In “How should we move?” urban mobilty systems have been compared, showing the maps of transports of Dar es Salaam, Zurich, Los Angeles and Silicon Valley.
The challenge of design and architecture professionals: how to employ eco-friendlier materials reducing waste production in the design process, for a world without disposable plastic?
The issue of white architecture is discussed in “Worldwhite?”: the different connotations of this architecture from the Partenon to the buildings designed by Le Corbusier, Oscar Niemeyer or Álvaro Siza; the projects by Aires Mateus for the Architecture Faculty in Belgium, and by Alberto Campo Baeza for Casa Cala in Spain.
The last page is dedicated to photography: Harpur Hill, from Project Cleansweep, taken by Dara McGrath, represents the quarry, one of many UK sites were chemical weapons were manufactured, tested or stored between WWI and the Cold War.
With the magazine, the supplement Atelier interiors. Places of creativity.
|
| En ligne : |
https://www.domusweb.it/en/speciali/guest-editor/winy-maas/gallery/2019/10/03/do [...] |
[n° ou bulletin]
N°1039(2019:octobre) - 2019-10-01 - Solo noi possiamo fare le città = Only we can make the new cities [texte imprimé] . - 2019. Langues : Italien ( ita) Anglais ( eng)
| Catégories : |
Aménagement du territoire -- Shanghai (Chine) -- 21e siècle
Anastassiades, Michael (1967-....)
Architecture -- Chine -- Dessins et plans -- 21e siècle
Architecture -- Dessins et plans
Architecture durable
Art -- Aspect social -- 21e siècle
Art dans la rue -- 21e siècle
Cartographie -- Informatique
Constructions -- 21e siècle
Constructions en verre
Croissance urbaine -- Inde -- Aspect environnemental
Data visualisation -- Cartographie
Design -- 21e siècle
Design durable
Design industriel -- 21e siècle -- Dessins et plans
Designers -- 21e siècle
Écoconception
Escaliers extérieurs
JR (1983 - ....)
Matières plastiques -- Déchets -- 21e siècle
Matières plastiques -- Industrie et commerce -- 21e siècle
Mobilité spatiale -- 21e siècle -- Cartes
Musées -- Shanghai (Chine)
Rives -- Aménagement -- Huangpu (Chine ; cours d'eau)
Urbanisme -- 21e siècle
Urbanisme -- Aspect économique
Urbanisme -- Aspect social
Urbanisme -- Istanbul (Turquie)
Urbanisme -- Medellín (Colombie)
Urbanisme durable
Villes -- Aspect environnemental
|
| Index. décimale : |
7 Arts et Beaux-Arts |
| Note de contenu : |
Many people maybe think that cities are made of concrete, stone, and brick – and fixed by ‘others’: politicians, bureaucrats and developers. But the city is made of people; concrete, stone, and brick is only needed to let them live in such close proximity. Few artists who show this ethos better than JR. His style of “graffiti” – in which he pastes enlarged photographs, usually of people, onto buildings and around the city – literally humanizes our urban environments. In this way, JR reminds us who makes the city.
In this issue we see how an enlightened initiative in Medellín has turned areas around the city’s water storage tanks into beautiful ( and much-needed) open spaces and facilities for public use. Thanks to Medellín’s topography, many of these spaces offer astonishing views over the city.
Another way a city can change for the benefit of its citizens is by improving transport. Good mobility allows people to access equal opportunities and to make sustainable choices. But how should a city approach this? In each city the challenges and opportunities are different. Mobility In Chain introduces us to four very different cities (in North America, Europe, and Africa) which have each taken a different approach to mobility with interesting results.
Many people maybe think that cities are made of concrete, stone, and brick – and fixed by ‘others’: politicians, bureaucrats and developers. But the city is made of people; concrete, stone, and brick is only needed to let them live in such close proximity
Those are ways that people have received better urban environments thanks to those with power. But not all of those in power are so generous. Fortunately, some people are occasionally lucky enough to replace those people. In this issue we feature an interview with Ekrem İmamoğlu, whom the people of Istanbul elected as their new mayor this summer. It is the first time in 15 years that Istanbul’s mayor has not been a representative of Recep Tayyip Erdogan’s AK party – a “celebration of democracy”, as İmamoğlu called it when he took office. In the interview he tells us of his plans for the city, many of which centre on the citizens: social housing, pedestrian spaces, and open, transparent competitions to redesign public spaces.
Taking control of the city is not always simple. Sometimes people have to fight for transparency in new developments, and for spaces that put their concerns first. An interesting example is the Quayside district in Toronto, being produced by Sidewalk Labs (a sister company of Google). Google sees the Quayside District as a “human-centred” plan with smart technological solutions to improve the public realm. But the community has been worried by a lack of transparency, a lack of community consultation and privacy issues. They have maintained an impressive resistance – showing there is an important difference between being told that something is good for you, and getting to decide what is good for yourself.
The effects of a fire in the rainforest of Mandacaru, state of Mato Grosso, Brazil, September 2019. Photo Victor Moiyama/The New York Times/Redux/Contrasto
Domus 1039 is entitled “Only we can make the cities”. In his editorial Winy Maas reminds us that cities are made of people and not of concrete, stone and brick, only needed to let people live in proximity. He introduces the work by JR, the artist who pastes huge photographs of people onto buildings and around urban environments, reminding who makes the city.
The requalification of the periphery of Medellín, in Colombia, led by the Articulated Life Units, is a social urban planning at the service of the community, and the regeneration plan for the Huangpu riverside makes Shanghai the new cultural metropolis of Asia. The interview with Ekrem İmamoğlu, the new mayor of Istanbul, deals with the sustainability of the city, the traffic congestion and the shortage of affordable housing.
In “How should we move?” urban mobilty systems have been compared, showing the maps of transports of Dar es Salaam, Zurich, Los Angeles and Silicon Valley.
The challenge of design and architecture professionals: how to employ eco-friendlier materials reducing waste production in the design process, for a world without disposable plastic?
The issue of white architecture is discussed in “Worldwhite?”: the different connotations of this architecture from the Partenon to the buildings designed by Le Corbusier, Oscar Niemeyer or Álvaro Siza; the projects by Aires Mateus for the Architecture Faculty in Belgium, and by Alberto Campo Baeza for Casa Cala in Spain.
The last page is dedicated to photography: Harpur Hill, from Project Cleansweep, taken by Dara McGrath, represents the quarry, one of many UK sites were chemical weapons were manufactured, tested or stored between WWI and the Cold War.
With the magazine, the supplement Atelier interiors. Places of creativity.
|
| En ligne : |
https://www.domusweb.it/en/speciali/guest-editor/winy-maas/gallery/2019/10/03/do [...] |
|
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