The Slovo Park Project Soweto, 2010
Agent/s of change:
This project initiated by Carin Combrinck in the University of
Pretoria’s Architectural Honours Year.
Stakeholders involved:
Motivated community [Federation of The Urban Poor (FEDUP) and C.O.R.C ], local inhabitants and students of the University of Pretoria.
Motivations: Ecological / Ethical / Pedagogical / Political / Professional
Exposing architectural students to the issues faced by South Africa’s urban poor. Through engagement with an organised and motivated community culminated in a co-built student/community project with not only a physical product, but many intangible outcomes that extended beyond simply‘another community project’. Researching and designing an upgrading and development plan for the settlement.
Operations:
Several mapping exercises, interviews and detailed sketches of the local housing typologies. Addressing research team’s questions with the help of residents and presenting mapping to the community. Building intervention：a larger urban framework was proposed that sought to link Slovo to the neighboring community. Employing local help in measuring the site. The student group has followed up on several post hand over visits to discuss the future of the center.
References about:
Filipe, Slovo Park Project: A process of understanding, 2010
Chococharlas
São Paulo, Madrid, Transnational, 2015
Agent/s of change: Curator: Andrés Jaque Architects (Office for Political Innovation) Co-curators: J. G. Pereira Leite (EC) and A. Pieltain (ETSAM)
curator
Stakeholders involved:
production and funding
WWW
Production and funding: Acción Cultural Española (AC/E). Co-
chococharlas.com online platform
organization: the schools of Architecture Escola da Cidade (EC, São Paulo, Brazil) and Escuela Técnica Superior de Arquitectura de Madrid (ETSAM, Spain) of the Politecnical University of Madrid. Scenography: Fazemos Arquitetura (EC) and Bollería
10
Industrial (ETSAM). Also graphic and web designers, computer technicians, a staff team and the students were involved.
meetings
Motivations: Pedagogical / Professional
scenography
The purpose of the project was to create and strength interactions between young agents involved in urban contemporary culture from São Paulo and Madrid. Using the internet and telecommunication technologies, it aims to expand the concept of urban space, beyond the physical level. It was distributed chocolate ice cream to the participants during the conversations (‘charla=chat’).
Operations: Avoiding unnecessary energy and money expenditures with transport, the event took place in 3 different spaces simultaneously: in São Paulo, Madrid and at an online platform, in witch everyone could see the 10 meetings in live streaming. This platform is now used as a repository of all chats.
SAO
3
locations
São Paulo
panelists
school
References about: “Andrés Jaques Architects”, http://andresjaque.net/. “Chococharlas”, http://chococharlas.com/. “Chococharlas”, https://www.facebook.com/groups/chococharlas/. “Chococharlas. 900 minutos de conexiones transurbanas“, http://www. accioncultural.es/es/chococharlas_900_minutos_conexiones_ transurbanas (acessed November 19, 2015).
48 MAD Madrid
scenography
school
Baltic Street Dalmarnock, Glasgow, 2013 Adventure Playground
Agent/s of change:
• The Art and Architecture Collective Assemble • The Arts Organisation Create
Stakeholders involved:
• Glasgow City Council • Clyde Gateway Development Corporation • Creative Scotland
Motivations: Pedagogical / Professional
• an immediate, practical response to the challenges facing a group of children growing up in a relatively scarce and barren urban environment where around 54% of children live below the poverty line.
• as a temporary and direct response to the lack of play space and out of school provision for community of children and families in Dalmarnock.
Operations:
The Baltic Street offers a platform for children who are 6 to 12 years old to grow in any direction they choose, embracing both creativity and destruction. They are supported to selforganise, and play workers secure a nurturing environment which is constantly evolving on a moment-to-moment basis in response to the children’s growing needs, dreams and capacity to affect change.
References about: http://www.balticstreetadventureplay.co.uk/ http://assemblestudio.co.uk/ Arvid Bengtsson (1979). ‘Children’s play is more than physical education’, Prospects, 9(4):450-457
Self-made Playground in Maputo Mozambique, 2013
Agent/s of change: Basurama and the local people of Maputo
Stakeholders involved: Spanish Embassy in Mozambique Local enterprise
Motivations: Ecological / Ethical / Pedagogical The school lacked furniture that would allow children to enjoy the outdoor space, having a big tree in its courtyard. The motivation behind the project was an ecological, ethical, and a pedagogical one, to train the local community through codesigning and co-building with local resources, as a way “to generate autonomous processes and lasting transformations in time.” (1)
Operations: The project was carried out through empowerment, in which Basurama acted as the instigator and organizer of the workshop, open for volunteers from diverse backgrounds, to build a playground in one of the schools of Mafala. The self-built project allowed the local people to ‘take control’ and be more proactive towards their built environment.
References about: (1) Basurama. 2013. Self-made playground in Maputo. [ONLINE] Available at: http://basurama.org/en/projects/selfmade-playground-in-maputo/. [Accessed 19 November 15]. (2) Spatial Agency. 2014. How? . [ONLINE] Available at: http:// www.spatialagency.net/database/how/. [Accessed 19 November 15].
Community Arts Project - Cascoland.
Use of light, art, vegetation and chicken to transform spaces within the neighborhood
Kolenkithood, Bos en Lommer, Amsterdam 2010 - 2015 Agents of change:
Commissioned by Dutch government: Ministry of OCW, borough Amsterdam West, housing corporation Rochdale and Koers Nieuw West.
Stakeholders involved:
Fiona de Bell, Roel Schoenmakers and others: Residents, artists, designers, council and housing corporation representatives, students, photographers, journalist.
11 11 10 – Light Klub II
15 12 10 - Chicken Transfer
21 05 11 - Return of the Chickens
Motivations: Ecological/ Ethical/ Pedagogical
Activation of the Kolenkithood through participation. Improve the liveability of a troubled neighboured in Amsterdam West, Kollenkitbuurt. Following the beliefs of Nina Wallerstein “empowerment is a socialaction process that promotes participation of people, organisations and communities towards the goals of increased individual and community control, political efficacy, improved quality of community life and social justice”
25 04 12 - Area Moes Binnentuin
14 10 10 - Waving at the neighbourhood
21 10 10 - Wing Style Line football
Operations:
Interventions into the Kolenkithood,. -Use of creativity whilst encouraging entrepreneurship, provide incentives to locals to maintain property, support environmentally sustainable development. -Setting base in two houses in the neighbourhood -Invite community for dinner to enhance familiarity -Host weekly participation events in the houses and also in open spaces in neighbourhood through barbeques and socials picnics, movies, music and brew festivals, to encourage socialisation and participation and get development ideas. Idea
02 02 12 - Ice rink
07 06 15 - Mobile Logeerhuis
28 09 13 - C'land Kolenkit Movie
Develop
Reference about: MIAZZO, F. and KEE, T. (2014). We own the city: Enabling Community Practice in Architecture and Urban Planning. Netherlands. Tracity. KLIMAITE, I. (2015). Cascoland. [online] Cascoland.looze.net. Available at: http://cascoland.looze.net/2009/index2.php?cat=50&casco_cat=projects [Accessed 20 Nov. 2015]. THE GUARDIAN, (2014). How art and chickens revived Amsterdam's most unloved district. [online] Available at: http://www.theguardian.com/cities/2014/may/19/how-art-chickensrevived-amsterdam-kolenkitbuurt-cascoland [Accessed 20 Nov. 2015].
24 03 15 - The Moving Zing
29 03 12 – Kolenkit Nieuws. Published articles for sharing of information online
Playgounds for Refugee Children as Emergency Responce Bar Elias, Lebonan, 2015
Agent/s of change:
Catalytic Action, a not-for-profit studio based in London
Stakeholders involved:
Kayany Foundation, a local partner committed to educating refugree children Center for Civic Engagement and Community Service American University of Beeirut Ministry for Social Affairs
Motivations: Pedagogical
Following the conflict in Syria, Lebonan has provided for 1.1 million refugees, including 600,000 children. UN Rights for Children conventions states that all children have the rights to rest, leisure, play and recreation, and cultural and artistic life. This organization want to give children these rights, and to educate them. And to inspire action like this elsewhere.
Operations:
Advocating for design that questions the definition of playground in emergency response. More than playing facili-ties, an opportunity for children to design the space they need. They hope that the children in this vulnerable envi-ronment can feel secure, play and rest to aid in deal with trauma and developmental issues.
References about:
CatalyticAction . (2015). PLAYGROUNDS FOR REFUGEE
CHILDREN AS EMERGENCY RESPONSE. Available: http://www. catalyticaction.org/all-project-list/playground-syrian-refugees/. Last accessed 20th Novembeer 2015. DOMUS (2015) PLAYGROUND FOR REFUGEES. Available at http:// www.domusweb.it/en/news/2015/06/10/catalyticaction_playground_ for_syrian_refugee_children_.html. Las accessed 20th November 2015.
THE REUNION PUBLIC HOUSE Southwark Lido in London, 2012
Agent/s of change: Exyzt Collective (Paris) LAKE ESTATE(essential support )
Stakeholders involved: House owner/ Residents Craftman
Motivations:
Change before
- Ethical:Public House Inspired by the playful aspects in the
history of the public houses, the reunion was an outdoor place where public house is hospitable and open for all beyond the idea of a pub’. - Political: In the heart of southwark where most of the built is occupied by office activities supported to let a more human vision being experimented to create a vision for a long term development with Lake estate. - Ecological:all the wood that was used was going to be recycled when the place closed down. - Professional: Apart from the overall arrangement and aesthetics of the space that was beautiful in a simple and effective way, pop-up restaurants, bars, shops etc exist in order to take advantage of the financial opportunity that presents itself within the intense urban environment.
Operations: With the essential support of LAKE ESTATE.EXYZT gathered a broad range of people to deliver a self produced and self managed collective act of architecture and a place open to everyone in the heart of Southwark. Furniture, rooms, the sauna, everything in the ‘public house’ was built by the collective. A building permission was required and issued for its temporary use but ultimately the collective got together, designed and built it. The reUNION is an hand crafted architecture where the craftsman is highly associated in the final aspect of each built elements. Those additions made evident that the people involved truly enjoyed themselves and left their mark.
The room-capsules for overnight guests/entrance ramp/the pool
Craftman
The room-capsules for overnight guests/ entrance ramp/the pool
The secret garden/Sauna and dining-drinking area
References about:
http://www.exyzt.org http://www.spatialagency.net/
bar/kitchen and the dining area
Jardin DeMain Montpellier, 2010
Agent/s of change: Coloco
Stakeholders involved: Services de la ville, Associations locales, Ville de Montpellier
Motivations: Environment / Participation / Education / transformation / This is a case about residential public space transformation, aimed at transforming abandoned parking area. The project Jardin DeMain invited Project invited residents, designers and gardener jointly participate in the construction of the garden. Although such public activities there are still some management problems and organizational issues, this way not only upgrade the living environment, also has the meaning of education.
Operations: The project was Lemasso as a collective participation model. Although it is a 1100 sqm garden transformation project, involves nearly 10000 residents in this middle-class community. In the early period, working of the designers and engineers to ensure the reasonable planning and technically support. The transform construction lasted 48 hours, the project invited the community residents who from all age group to participate in the construction.
References about: P.Georgieff, N.Bonnenfant (2012) FERTILES MOBILES. Cultiver ensemble l’espace public. Place of Publication: Editions Tout Contre. http://www.coloco.org/300510/galerie
How Can I Improve My Park? New York, 2014
Agent/s of change:
CUP Sam Holleran/ Valeria Mogilevich/ Christine Gaspar New Yorkers for Parks Advocacy Partner/ Alyson Beha/ Jessica Feldman/ Lucy Robson/ Emily Walker/ Robin Weinstein/ Partnerships for Parks/ Advocacy Partner/ Jordan Pender Elana Schlenker Designer Leslie Wood Illustrator
Stakeholders involved:
Dylan House of Hester Street Collaborative Ron Morrison Mark Torrey Frampton Tolbert Noel Cunningham Members of NYC Parks and public officials and their staff.
Motivations: Political
This is one project of the making policy public, and its whole aim is to make information on policy truly public. In this case, the particular motivation is to elucidate the park advocacy process and empower concerned citizens to make a difference in their communitie.
Operations:
1. Draw out a draft by meeting. 2. Design the poster 3. Ask for feedback by park users 4. Publication launch
References about:
Katrina Shakarian, â&#x20AC;&#x2DC;New Advocacy Guide Maps Path to Improved Parksâ&#x20AC;&#x2122;, Gotham Gazette, (2014) <http://www.gothamgazette.com/index.php/ government/5192-new-advocacy-guide-maps-path-improve-parks> [accessed by 30,July, 2014] New Yorkers For Parks, How Can I Improve My Park? New Poster Shows Advocates the Way (2014) <http://www.ny4p.org/_blog/News/post/ advocateguide/> [accessed by 17,July, 2014] How Can I Improve My Park? (2014) <http://welcometocup.org/file_ columns/0000/0613/improve_my_park.pdf>
A second life for Euâ&#x20AC;&#x2122;s pavillion Seville, 2008
Agent/s of change: hackitectura.net
Stakeholders involved:
Digital artists, architects, students and the general public.
Motivations: Innovative/ Technological Water 4 bits, a second life for the Pavilion of Europe, is a synchronized (and visitable) installation in physical space and digital space is about dreams, nightmares and realities of the technology. The physical space is the Pavilion of Europe. The digital space is a three-dimensional clone of the physical space built in a synthetic or Metaverse world. This digital space pavilion displays environmental data collected in real time via sensors while presenting a project to transform the pavilion into an experimental citizen media lab. The project draws attention to the place as a place of opportunity for Seville and explores future use as experimental media lab citizen.
Operations: The intervention can be visited by the public in small groups of eight people equipped with waders (high water boots) for a short time travel. The route will connect the shortest the west entrance to the central room for -6m dimension, where a team monitoring the conditions of the pavilion will be located habitable way. A monitoring device SquidBee, send environmental conditions (light intensity, temperature, humidity) to a computer signal receiver in the neighboring Italian Pavilion, which in turn sends this data to a FTP server data. These data travels over the network and are displayed in the installation of Water4bits in the CAAC.
References about: http://hackitectura.net/blog/en/a-second-life-for-eus-pavillion/ http://w4b.hackitectura.net/es/ http://w4b.hackitectura.net/es/contexto http://w4b.hackitectura.net/es/intervencion http://w4b.hackitectura.net/es/visitas
Holding Pattern
New York, June 19, 2011 -- September 19, 2011
Agent of change: Interboro Partners, as the winner of the MoMA PS1 Young Architects Program in New York.
Stakeholders involved: • Local Long Island City community. • TAKIS’S TAXIS, a taxi cab company. • Local organizations: like Senior and day care centers, High schools, Settlement houses, the local YMCA, library, and greenmarket.
Motivations: Political • Interboro Partners talked to community groups to create an eco-conscious design that fulfilled the needs of PS1’s Summer Saturday Warm-Up Series. • “Holding Pattern” creating by Interboro Partners is also focus on recycling, in other words, making sure the parts could be used in the community after the installation is dismantled.
Operations: • The “Holding Pattern” reveals this situation by stringing ropes from holes in MoMA PS1’s concrete wall to the parapet across the courtyard. • The “Holding Pattern” is an eclectic collection of objects, including benches, mirrors, ping-pong tables, and flood lights. These elements both enhance the Warm Up’s program, and strengthen MoMA PS1’s ties to its neighborhood.
References about: • Kelly Minner (2011) In Progress: Interboro Partners’ “Holding Pattern” P.S.1 Installation Underway. Arch Daily. • Holding Pattern Competition Entry (2011) http://www. interboropartners.net • Holding Pattern by Interboro Partners (2011). Young Architects Program. http://momaps1.org/yap/view/14
Park Fiction Hamburg, Germany 1994-2005
But advisable it is, to confront the mythical powers with trickery and recklessness. —Walter Benjamin.
Agent/s of change:
Hafenrandverein (Harbour Edge Association)
Stakeholders involved:
Hamburg Department of Culture, two district authorities, the city
Motivations: (Ecological / Ethical / Political)
It wasn’t just about having the park as a green area, but also about parks and politics, about the privatization of public space, about parks all over the world, about skateboarding and the pace of the city and accordingly it was about community conferences and democratic planning procedures. - ‘Sabine’ in the film: Margit Czenki, Park Fiction: Desires will leave the house and take to the streets.
Park Fiction, 1994-2005, Hamburg, map with annotations. Sketch: ©
Park Fiction, Hamburg, activities anticipating the park (rave around the planning container), 1998.Photo: © Park Fiction Archive
Operations:
The work of the Hafenrandverein (Harbour Edge Association), prevented the execution of a housing and office development for this highly prominent site Creation of park as an alternative form of activism-guerrilla garden was created- cultural festivals were organised to make the idea of a park project popular among residents and underlined the project’s cultural potential, demonstrations, “planning container,” lectures on the cultural and political dimensions of historic and contemporary garden designs, combined methods of social and art pedagogy, talks, exhibitions, open-air screenings and concerts were used as tools, In 1998, the final draft of the design was completed and a budget for the city authorities was calculated, The project was finally fundedby the city with €2.4 million and construction of the park took place between 2003-2005.
6. The Park Fiction Group at the documenta XI in Kassel, 2002. Photo: © Werner Maschmann. Connections
References :
Webites: http://www.spatialagency.net/database/park.fiction, Articles: The City is Unwritten; URBAN EXPERIENCES AND THOUGHTS SEEN THROUGH PARK FICTION, by BY CHRISTOPH SCHÄFER Published in: Making Their Own Plans, Ed. Brett Bloom, Ava Bromberg Chicago, 2005
Park Fiction Panorama. Photo: Jan Zimmermann
Taller del Desierto/Urban SPA Chihuahua, Mexico, 2015
Agent/s of change:
Every summer, ISAD [Instituto Superior de Arquitectura de Chihuahua] organizes a workshop known as Taller del Desierto. In the year (2015) PKMN were asked to lead a new edition of the workshop.
Stakeholders involved:
Park’s neighbour, The university, Impulsando Capacidades, a civil association, A+bien(material sponsoring).
Motivations: Ecological / Pedagogical
The objective of this year’s workshop was to build an installation in the park. While the charrettes produced a series of sketches for a variety of future park amenities, most of the residents voiced their desire to reactivate the park’s fountain, a centrally located water source that served as the heart of the park but had been broken for years.
Operations:
Workshop volunteers used wood pallets to transform the fountain base into a bathing deck and added pallet furniture, steps, garden beds, and a ramp for accessibility. Scaffolding units were installed around the fountain to support textile shades, hammocks, and resting platforms. The workshop successfully reached out to the city council to fix the source pump and fill the fountain with water.
References about:
http://www.pkmn.es/URBAN-SPA http://inhabitat.com/pop-up-urban-spa-made-of-recycledmaterials-revamps-a-mexican-park/ http://www.archdaily.com/772216/isad-students-revitalizebroken-water-source-with-urban-spa
CROSSING PATH SUPERBENCH Milano, 2011
Agent/s of change: RAUMLABORBERLIN
Stakeholders involved: Invited by Public Design Festival Organized by Esterni Supported by the Goethe Institut Milano
Motivations: Ecological & Professional ECOLOGICAL: This project organized paths in a natural way. It means the design team strongly respected on human impacts on the existing environment. They did not design the paths by themselves, but to record the users footprints and created pedestrian systems naturally. PROFESSIONAL: The design team tried to make the networks by some informal paths, which were created by passers-by over the years instead of making it by the designers.
Operations: The idea of the project is to resolve the problem in this particular situation by building out the “lots” created by the overlap of the two networks. The new structures are ordinary benches positioned precisely along the edge of the lawn and intersecting at the corners. The crossing path super bench “institutionalizes” the paths, born not through a top-down planning process, but generated through the gradual process of users reoccupying urban space. STEP 1. TRACKING footpaths by users STEP 2. SETTING UP commuting paths by benches, steps and mat formations STEP 3. CREATING new footpaths system for locals
References about: Apuzzo, F., Pasquali, L. & Peterman, T., 2011. Crossing Path SUPERBENCH 2011. Available at: http://raumlabor.net/crossing-pathsuperbench/ [Accessed November 19, 2015]. Domus, 2011. Crossing Path Super Bench. Available at: http://www. domusweb.it/en/news/2011/02/17/crossing-path-super-bench.html [Accessed November 19, 2015].
Transborderline Roma, 2000
Agent of change: Stalker Lab
Stakeholder involved:
Kurdish immigrant community
Motivations: Borders of spaces can represented by various forms for various reasons. The spiral barbed wire as one of the most physically exclusive border, it directly articulates segregation and boundary. But, a symbolic border that actually encourages peopleâ&#x20AC;&#x2122;s interaction and recreation could be a future form of urban space. It is crossable, playable and habitable border that emphasis space, and weakens segregation.
Operations:
The project worked with local migration community with government support, strengthen peopleâ&#x20AC;&#x2122;s interaction and circulation. The major physical work of project transborderline is an interactive giant spiral that represents a concertina wire that without thorns, which interestingly has a symbolic value of uncrossable barrier. The sculpture is participatory and habitable, and it overturns the basic meaning of borders. The project also exhibited in Venice and Ljubljana.
References about: A10. (n.d.) Architects Profiles. [online] available at: http://www.a10.eu/ architects/profiles/stalker/ [accessed 19 November 2015] Parris, S. (2015) Temporary Use Practice Annex Case Studies. South Yorkshire Forest Partnership / Sheffield City Council. [online] available at: http://archive.northsearegion.eu/files/repository/20150922120724_ TemporaryUsePracticeAnnexCaseStudies.pdf [accessed 19 November 2015] Stalker Lab. (n.d.) Tranborderline. [online] available at: http://www. osservatorionomade.net/tarkowsky/transbord/transborderIng.html [accessed 18 November 2015] .
Windpost Rotterdam, 2009
Agent/s of change: Projectorganisatie Maasvlakte 2
Stakeholders involved: ZUS Design Office, the Port of Rotterdam, Visitors
Motivations: Professional De Maasvlakte is the ultimate spot for wind-tourism, but the existing radar post is the only exception in this wind oriented area. In order to unite the area in a consistent style, ZUS proposes to turn it into a WINDPOST which can be an industrial attraction and give visitors great wind-experience.
Operations: The iconic mast will be replaced by a circular wall of propellers which divert the wind and turn it into an experience. The construction consists of two interconnected cylinders, a public winding ramp and a staircase and elevator for the radar operator. The outer cylinder is made of 749 propellers which will generate energy from the wind.
References about: ZUS-Windpost. (2009). Retrieved from http://www.zus.cc/work/ architecture/128_Windpost.php?1=y
FOOTBALL FOR HOPE
Violence Prevention Through Urban Upgrading Cape Town, since 2005
Agent/s of change: FFIA
Stakeholders involved: Architcture for Humanity/Streetfootball world
Motivations: Political
The community center in Khayelitsha is one of the most violent settlements in Cape town, because of the historical problems, the large number of poor people, the incomplete public infrastructues, etc. One way by driving down crime in this area, giving low-income residents the same freedom of movement enjoyed by the middle-class, and hope to provide a loving growth environment for children.
Operations:
The Khayelitsha Centre, constructed in 2010, is just one of a number of community hubs, open 24/7 thanks to community volunteers, that run every 500 meters along a relatively safe, well-lit and paved route throughout the township. The long-term impact in Khayelitsha has been tangible: in almost ten years, the townshipâ&#x20AC;&#x2122;s murder rate has dropped 33%.
References about:
Next City:https://nextcity.org/features/view/cape-towns-antiapartheid-urban-plan. Arch Daily:http://www.archdaily.com/513704/spotlight-southafrica-three-designs-instilling-dignity-and-defeating-stigma/ Theguardian:http://www.theguardian.com/cities/2014/apr/30/ cape-town-apartheid-ended-still-paradise-few-south-africa
Cairo Downtown Passageways
Agent/s of change: CLUSTER (Cairo Lab for Urban Studies, Training and Environmental Research), organized collaboratively by DEDI and CKU.
Stakeholders involved: Residents, pedestrians, car drivers, street vendors, Heritage Preservation Agencies, real estate developers.
Motivations: Ecological / Professional CLUSTER is to solve problems of Cairoâ&#x20AC;&#x2122;s informal communities, to re-interpret, adapt, and integrate informal urbanism. It is also a project on how to develop a more inclusive use and initiatives of public space, and how these passageways can be used for book fairs, art, exhibits, or markets.
Operations: CLUSTER has been working in the two passages over an extended period, undertaking mapping, interviews and outreach as part of the larger project on Downtown passageways as an alternative framework for development. This pilot project seeks to promote a more diverse, inclusive, and accessible public space downtown.
References about:
https://www.facebook.com/clustercairo/ http://citiscope.org/citisignals/2015/reimagining-cairo-onepassageway-time http://passageways.clustermappinginitiative.org/en www.clustercairo.org Omar Nagati & Beth Stryker, Archiving the City in Flux. Cairoâ&#x20AC;&#x2122;s Shifting Urban Landscape since the January 25th Revolution (Cairo: CLUSTER, 2013). Omar Nagati, Beth Stryker & Magda Mostafa (eds.), Learning from Cairo: Global perspectives and Future Visions (Cairo: CLUSTER, 2013).
LE BISTROT DU PORCHE NANTES, -2008
Agent/s of change: Bruit du frigo
Stakeholders involved:
women of the local association TAKAPRES, cooks-residents and guest-chefs from Bordeaux and Nantes.
Motivations: Ecological / Ethical / Pedagogical / Political / Professional
The aim to regenerate this artistic residence is to involve the residents and users from Breil Malville area in order to have a foresight for this area, particularly in urban imagining. To explore a possible arrangements of a new space, resulting from the demolition of part coming, housing a bar
Operations:
Transform and develop the porch “Raimu” in Bar and workshop temporarily, by “piggybacking” on a construction facade of the building. The bistro is a human activation artistic tool, a way to create a public space friendly and stimulating to mobilize, meet and work with the locals.
References about:
Dossier de présentation Bruit du frigo (link: http://www. bruitdufrigo.com/assets/files/dossiers_pdf/dossier_presentation_ bruit_du_frigo.pdf, on page 20)