Tensta a guidebook

TENSTA REAL AND IMAGINED PLACES

A GUIDE BOOK

THE UNVIELING OF AN INVISIBLE CITY

“ Tensta - Real and Imagined Places, a Guide book� is part of a theisis project at The Architectureshol of The Royal Institute of Technology in Stockholm.

By Marie-Louie Richards. www.madamearkitekt.com

Disclamer; The content is this guide is a play on fact and fiction.

Thanks to; To IASPIS for producing this guide book and to; Meike Schalk Kelda Bryson-Swartz Fatale, Critical Studies Design Studio School of Architecture KTH for all the inspiration help and support

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A. Introdution B. Symbols C. Third Space D. --------------

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A. This Is Tensta B. History C. Post war planning D. Connecting Tensta

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Present and Presence A Guide Map

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CONTENT

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The Familiar Navigation

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The Unfamiliar Appropriation

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APPENDIX A Guide Map A Manual A Bla bla bal

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A TEST TO SE OW THE TEXT FION THREE ROWS Space is both the product and the producer of society. Using space as a tool cities aim to produce competitive and attractive local identities trough representations, images and symbols.

The construction of places through representation is highly institutionalized nowadays.

Cities are launched and landscapes formed with the help of regional cultural

American professor in sociology Sharon Zukin argues that this trend has created a symbolic economy in which cultural symbols and public culture are intertwined with commercial values. Symbols and “image� has increasingly become global commodities, and the economy of symbols has become an active driver in the production of space. Therefore, the symbolic economy alters the geography of cities and has taken an active role in creating representations of, and for the city.

With production and capital being easily moved between different locations, and since borders no longer offers particularly high resistance to such movement, cities have been placed in a situation where they compete for investment. This has transformed the ways in which cities are developed and managed.

Within research these developments are often summarized in terms as; the entrepreneurial city, urban entrepreneurship or urban governance. These concepts refer to strategies developed for cities to be able to attract new investment and new residents. For cities to position themselves as competitive and attractive to live in has become more and more important.

The construction of places through representation is highly institutionalized nowadays.

Cities are launched and landscapes formed with the help of regional cultural

The region of Stockholm has expressed the vision to be ”The most attractive region in Europe” , using the slogan - ”Stockholm the Capital of Scandinavia.”

However, the discourses of com-

petitiveness, innovation, and development that cities are surrounded by today, represent only some stories, some populations, certain types of spaces - and a certain type of city. In the very attempt to create a representation of an attractive city spatial divides emerge. What is considered to be an attractive city and for whom becomes crucial: If the spatial imagination is such a powerful tool one must ask whose imagination is it that is represented, and can cites reach their full potential in not including all sorts of imaginations.

The construction of places through representation is highly institutionalized nowadays.

Cities are launched and landscapes formed with the help of regional cultural

The emerge of an entrepreneurial city and its success stories are often portrayed as a consequence of globalization, But the relationship between an entrepreneurial city and the dominant economic political order is rather based on a dialectical connection. Accumulation of capital is a place bound process that depends on society’s social and practical

interpretation. Although space is a product of society modes of production, social relationships and activities, it has at the same time an ability to organize, stabilize and reproduce society’s social relations. Space is at one and the same time a product and a producer of society. Reality is a social space , and society and space should therefore not be regarded as two separate things.

They should rather be regarded as two aspects of one reality.

The construction of places through representation is highly institutionalized nowadays.

Cities are launched and landscapes formed with the help of regional cultural

Reproductions of society’s social relations and power relations takes place in space, but are also made possible with space as a ”tool” and as a medium. How the spatially structured social reproduction occurs is a matter that is affected by more aspects than the spatial order of physical space. Social reproductions have many localities and are supported by both abstractions of the mind and of symbolic representations that can’t

fully be captured or explained.

”Awareness of spaces ability to structure and reproduce society entails a chance to analyze how space can be made into an instrument of domination and exercise of power.”

Henri Lefebvre

According to French sociologist and philosopher Henri Lefebvre, production of social space is a complex process that occurs at multiple levels, from the global market and the governmental “macro level” to the “micro level” of individuals.

To further explain these concepts of space Lefebvre constructs a “conceptual triad” to explain the components of spatial production, these components are those of; the perceived spaces of ”spatial practices”, the conceived spaces of ”representations of space” and the lived spaces of spaces of representations.

The perceived spaces that are psychical are often referred to as real, and conceived spaces referred to as imagined. Lived space, or spaces of representation is therefore a combination of real and imagined space. Lefebvre imagines these lived spaces

as the ”hidden/invisible space” of social life, where mediation takes place through non-verbal symbols and codes. Introducing this third element in his triad of space, Lefebvre presents spaces of representations as means to describe the transmission between the abstract and the physical.

The construction of places through representation is highly institutionalized nowadays.

Cities are launched and landscapes formed with the help of regional cultural

Further, representations of space are created not only to depict reality; they are exploited as models of transforming it. Representations are used as means to dominate the social landscape. Phenomena in material space are converted into symbols, and the space is designed in a “logic of visualization”. It evokes an architecture designed to be read; sight prioritised over the body’s other senses.

As a result of a strict separation of functions, Tensta is an inverted city where the borders between private and public has been become inarticulated. In presenting

a guide map I wish to explore the hidden, and invisible assets in the spaces in which social life in Tensta takes place. In connecting what is already there, an attempt to reveal the assets in the area is made, turning the social in Tensta inside out. In reaviling these hidden assets, values can be created as means to alter the city.

In the act of presenting a cultural network in Tensta with a Culture House, an Idea Store, an Info Centre and Tensta Street Market, the public spaces of the central strip Tenstag책ngen would be transformed. Today all these functions and activities are present but have no presence in the public space. Offering neither identity nor readability to the space. A cultural network could generate meetings, clashes and cross-fertilization.

Integrating the area on a micro scale, transforming Tensta from being a segregated district to becoming a network society.

a guide map I wish to explore the hidden, and invisible assets in the spaces in which social life in Tensta takes place. In connecting what is already there, an attempt to reveal the assets in the area is made, turning the social in Tensta inside out. In reaviling these hidden assets, values can be created as means to alter the city.

In the act of presenting a cultural network in Tensta with a Culture House, an Idea Store, an Info Centre and Tensta Street Market, the public spaces of the central strip Tenstag책ngen would be transformed. Today all these functions and activities are present but have no presence in the public space. Offering neither identity nor readability to the space. A cultural network could generate meetings, clashes and cross-fertilization.

Integrating the area on a micro scale, transforming Tensta from being a segregated district to becoming a network society.

THIS IS TENSTA

POPULATION

17 747 (2009)

FORIGN DECENT

85,9% (2008)

Foreign-born Swedish born with two foreign-born parents

UNDER THE AGE OF 24

58,6 % 27,3% 42%

HOUSING

6 203 5 802

PEOPLE WORKING WITHIN THE AREA

2 407

Apartments

Source: USK

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TENSTA OVERVIEW

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THIS IS TENSTA BUILDING BLOCKS

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TENSTAGÅNGEN 1970

HISTORY

“A home environment that puts one of the stone city’s intensity, concentration and order to the city’s outer green, spaciousness and freedom from interference” (City of Stockholm in 1965, 2) ”En bostadsmiljö som lägger något av stenstadens intensitet, koncentration och ordning till ytterstadens grönska, rymlighet och frihet från störningar” (Stockholms Stad 1965, 2)

PRESENT AND PRESCENSE STORYTELLING

There are a number of activities and services that are present in Tensta that offers no precence nor readability to the public spaces in the area. The local service have extedned itself to the districts needs. Shops, cultual activities etc. has found spaces that where not planned for the use that it serves today. Tensta is a hidden city. The areas hidden assets connects Tensta and the area has it own logic of urban spatiallity. Using ones imagination a vibriat city unfolds.

COLLECTING STORIES STORY I Tensta is a locked structure, adding is almost impossible STORY II There is not space for two large cultural institutions in Tensta.

REFLECTIONS QUESTION I Can this area be a host for culture?

QUESTION II How can the subject achive the ability and power to create and sustain, appropriate and control space in Tensta.

1. Some of the main actors spoken to where Tensta Tr채ff, Tensta Konsthall, Livstycket, Tensta Against Crime rescidents and shopowners in the Area

In conversations with some of the main actors in Tensta(1) two reflections about the area where recurring and central. It was the issue of Tenstas flexebility and ability to meet the need of commercial growht in order for small scale buissnes to evolve. Another central issue in Tensta was the how the cultual activities where distributed. Since 1998 Tensta Konsthall was founded. The art space has in many ways put Tensta on the map. In 2003 Tensta konsthall faced some leadarship issues and in 2004 a new programe was set. Tensta Kosnthall went from being a international artscen into becoming a local artspace.

REAL IMAGINED SPACE

“to construct the imaginary is more important than the built”

Liza Fior, MUF

1. Some of the main actors spoken to where Tensta Träff, Tensta Konsthall, Livstycket, Tensta Against Crime rescidents and shopowners in the Area

Tensta wants to be much more than a rescidential area, and im many ways it is much more than that. With it’s over 17.000 rescidents it has traversed into becoming a district of Stockholm holdig many functions that complements the city’s variaty of culture and commersial activities.

Since the area has not been planned for many of the activities that are present today. The question of how Tensta is evolving into a vibriant distric and how the area can be a host for culture becomes more and more intersting.

TENSTA FOOD MARKET HALL 8 covenience stores 2 supermarkets 2 restaurants an open air market and 1 baklava bakery

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TENSTA SHOPPING

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100 REASONS TO GO TO TENSTA

The hidden activities and services connects the area on a local scale and in providing a guide the area becomes accesible to visitors and connecting the area on a regional scale.

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There are thousands of reason for anyone to visit Tensta...

Tensta is only a 20 min subway ride from Stockholm City center.

The artwork in Tensta Subway station are by artist Helga Henschen.

THE FAMILIAR NAVIGATION

DISTRICTS

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EGGEBY GÅRD JÄRVAFÄLTET

VISSLINGEBACKEN

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ERIKSLUND

LÄFTINGEBACKEN

HYPPINGEPLAN TENSTA ALLÉ

NYDAL

KRÄLLINGEGRÄND

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HUSINGEPLAN GULINGEPLAN

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TISSLINGEPLAN BJÄRKINGEPLAN

SPÅNGA BY

FARINGEPLAN BJÖRLINGEPLAN

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HOLMINGEGRÄND

UPPINGEGRÄND

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SVINNIGEGRÄND

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TENSTA CENTRUM

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TENSTA BACKAR

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TENSTA PORTEN

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GULLINGE GÅRDAR TENSTA DALEN

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TENSTA CENTRUM

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TENSTA BACKAR

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GULINGE GÅRDAR

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TENSTADALEN

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REAL IMAGINED SPACE

“Space is both the producer and the product of social life” Henri Lefevbre, The Production of space

APPROPRIATION

SIGNS

SIGNS APPROPRIATION

DIRECTIONS

ENTRANCE

OUTDOOR DISPLAY

POSTERS

TEMPORAL BUILDING PERMITS CONNECTING AN ENCLAVE

BILLBOARDS CONNECTING AN ENCLAVE