Cultural life of umea after 2014 : sense of community : return of the local by soumia bouroucha

Culture issued from a history that had dissolved the way of life of the old world, yet culture as a separate sphere is as yet no more than an intelligence and a sensory communication which, in a partially historical society, must themselves remain partial. Culture is the meaning of an insufficiently meaningful world. The Society of the Spectacle by Guy Debord

Cultural life of umea after 2014 sens of community : return of the local Soumia Bouroucha Master’s programme «Laboratory of immediate architectural intervention» LIAI Umea school of architecture Umea University

UMA Examiners : Alberto Altès Arlandis Oren lieberman

Supervisors : Alberto Altès Arlandis Josep Garriga tarrés Oren lieberman

*Umea wants more 7

Abstract In a context of globalization, economic crisis, post-industrial transition and high level of unemployment, cities are looking for new urban strategies that will respond to their new needs and meet their expectations. ,The concept of creative city appears as solution for prosperity and attractiveness and therefore becomes to be a reason of investments attraction .In this way certain notoriety gains or maintains. Cities turns into preachers of this doctrine of creative city in order to renew economic and urban fabric . We also evokes , indices of positioning and provide it as advice to the elect to ensure the dynamism of their cities. Here comes measure of the benefit that is made by culture and understanding its scale. But What is the ‘creative’ term for these preachers? Does culture matter for implementing the concept of “creative city”? Finally, if culture is present, how can we understand it and how big is its role ? The European capital of culture initiative is one of the most visible cultural events in Europe. The year is an opportunity for cities to change their image, increase their recognizability and develop strategy focused on culture for attracting more tourists. Consequently a new term has emerged in marketing - «brand space», «branding the city», « urban brand» - or urban marketing. 8

With the according title of European Capital of Culture 2014 Umea undergoes major urban transformation with new cultural center, shopping malls, hotels but also transformations of its public spaces. under the ambition to “put the city on the map”. Therefore, the city becomes a product that seeks to commercialize. At the same time inhabitants consider their town as combination of memories, history, conflicts and relationship . The coming year after the investment period of a cultural event is generally observed very closely. Indeed the effect «European cultural capital», which brings some fame can also turn into ‘”hangover effect “. When I arrived Umea in 2013, a large debate was ongoing around accelerated urban development that had undergone the city – slogan “Umea wants more”, idea that Umea wants to be bigger. But for whom? Does Umea want a transformation at the expense of losing its identity and culture?

Abstract table of contents Research Questions Hypothesis Part 1 : the myth of creative city : instrumentalization of culture -what’s culture ? -What’s is the Creative city ? -creativity in relation to cities -why do we talk about creativity in relation to cities ? -Discourse of instrumentalisation of culture -Umea as creative city -what made Umea a creative city ! Part 2 : Urban renewal through institutionalized culture : -Introduction -Chronological Urban transformations generated by culture -The city ‘s image at the service of attractiveness - Cultural vision of the city :(centralization) -Cultural gentrification and politicians vison

Part 3 : alternative way of imagining cultural life of communities in the city -Introduction -Spatial repartition of associations and organization in Umea -My cultural Network : taking part of a local community -Making the invisible visible : neighborhood communities and their activities -Ruturning to the roots : An alteternative way of imagining a cultural life in the city -Conclusion

Research Questions Reviewing the struggles that have shaped the city policy, I noticed that history repeats itself. Indeed construction of the cultural center in Vasplan was protested in on 80’s and people stand against the centralization of culture. In that time the first cinema in Umea was replaced by a hotel (Scandic plaza ) , Galaxen youth center was destroyed. Thereby it enabled me to question the power of urban transformations in affecting the cultural life of the city? If the event creates a new image of the city related to an ideolgy instead of an identity What could be then its social and spatial impacts in transforming the cultural life? is it possible to extend the previlege of «culture» beyond the «creative class» so that everyone one can take part by finding another alternative way of organizing cultural life in the city in relation to the already existing structures and communities ? If we are interested in culture of sharing instead of cultural production,do we move then from a dedicated culture to a shared culture ? The aim of research is to investigate alternative ways of organizing culture and communities in the city that increase the opportunities for everyone to take part. and be cultural producers. 12

Hypothesis Development of the city through culture implies its centralization.It starts by pushing out cultural places qualified as grass roots culture, in fact it allows to regain the land but also control the cultural production . This displacement of cultural places generates a centralization of culture, thus creates an urban gentrification. The event Umea2014 is used as an instrument, indeed it is an urban renewal through culture, a tool to accentuate this ruffled for centralization and control. Since investments are concentrated on a central basis at the expense of other neighborhoods so instead of reinforcing the sociability of the city, it generates social exclusion.Thus urban transformations of the city and privatization of the city center provoke a cultural gentrification. The fundamental paradox of the ÂŤcreative cityÂť is based on the status conferred to creativity. Is it a capacity shared by all and that training policies , artistic for example can encourage , for the benefit of a more harmonious society , a development of the individuals ? Or is it an exceptional talent or hard work or even a gift of nature for some, one that capitalism today seeks to transform into added value? Going beyond the creative class, What happens if we broaden the understanding of culture, as sharing common values by imagining a city which is planned on the basis of sharing and the interests of its inhabitants 13

Part 1 / the myth of creative city : intrumentalization of culture

what’s culture ? Today the term culture in human sciences is totally foreign to everyday language. Many meanings of the term exist. Thus, the teacher speaks of «general culture»; the farmer of «intensive cultivation»; the journalist of «mass culture»; person that works as a Head of human relations «corporate culture»; etc. The word culture is also in use in expressions such as «fitness», «scientific culture», «national culture,», «popular culture», «food culture» or «traditional culture». The word «culture» comes from the Latin word «cultura» and admits a plurality of meanings and multiple uses. Over time, the culture successively appointed: «A whole complex which includes knowledge, belief, art, law, morals, custom and any other capabilities acquired by individual as a member of a society ...» (Tylor, 1871) «The key concept of cultural anthropology. It includes techniques, manufactured objects, manufacturing processes, ideas, habits and values inherited ...»(Malinowski, 1931) «Culture is the way of life of a group,...» (Maquet, 1949) «It can be considered as part of the environment that is the creation of human.» (Kluckhohn, 1949).

Currently ,three different meanings coexist and define culture: -In its narrow sense of high culture : It means the development of certain faculties of the mind through appropriate intellectual exercises. It generally refers to the knowledge of the works of the spirit: litterature, music, painting, etc. Some believe that culture is unevenly distributed; in this sense some people have culture while others do not have or little. But culture is inherent in each human group, it is loaded with a strong ethnocentric connotations. What constitutes culture to a human group is not necessarily the same for another group. -In its anthropological and sociological sense: The word ÂŤcultureÂť has a meaning both broader and more neutral. It is used to refer to all the activities, beliefs and practices common to a society or a social particular group. it is a coherent set whose elements are interdependent : - It permeates all human activities; - It is common to a group of people the importance of this group is high (the inhabitants of a continent) or very low (a small) group. - It is transmitted through socialization. Most of the time, this transmission occurs from one generation to another through socialization agents such as family and school, to name the most important.

18 Habits

Beliefs

Shared norms

History

Shared attitudes

Arts

Deﬁning «Culture »

RItuals

indivi du

Wider e nvir onm en t Commu nity Organ isat ion ls

Laws

customs

Shared knowledge

Morals

speciﬁc / diffuse

coming together to pursue agreed, collective goals

CULTURE AS A SET OF MEANINGS culture as “shared meanings that are encoded into the norms that constitute it

CULTURE AS AN INDEPENDENTLY EXISTING PHENOMENON : culture has an independent existence, it means is it can be studied independently of its carriers: the human being.

CULTURE AS A SUBJECTIVE HUMAN CONSTRUCT There are researchers and methodologists that hold a measurement philosophy in which constructs are believed to be completely bounded by the methods by which they are measured

CULTURE AS A SYSTEM OF BEHAVIORS: culture is not observable behavior, but rather the values and beliefs that people use to interpret experience and generate behavior, and that is reﬂected in their behavior

OBJECTIVE CULTURE: Objective culture can be conceptualized as created by individuals and residing outside them. Art objects, clothing, work instruments, and residential constructions are examples of visible cultural artifacts that have an objective existence

SUBJECTIVE CULTURE: Subjective culture is viewed as something invisible that resides in people’s minds.

Abilities , roles , values , leadership, motivations , knowledge, relationships, responsabilities

Culture

political , legal , policy , economic , funding etc

Umeå School of Architecture

Laboratory of Immediate Architectural Intervention

, culture can be seen as having diﬀerent layers: visible and invisible

culture can be construed in diﬀerent ways, depending on a researcher’s cultural background, professional aﬃliation, or idiosyncratic preferences, as well as a currently predominant fashion or other social factors.

culture as something shared by the members of a particular population that distinguishes them from another population

“Culture” is a construct A construct can also be thought of as a complex mental idea that reﬂects objectively existing phenomena

networks of people and organisations linked together

The explicit Culture (overt) includes all materials and concrete elements of the life of people, its food, clothing, habitat, language, dances, rituals, artistic achievements, burial customs, etc. The implicit culture (covert) is the hidden system or underlying representations feelings and values that gives unity and meaning to the explicit culture. This culture is designated, in the usual language, under the term ÂŤmentalityÂť.

what’s The creative city ? Creativity is a classical topic of innovation economics, even in its spatial dimensions. The creative economy is a new way to consider the role of innovation in firm, competitiveness and regional development in a global world. Beyond technology, the creative touch is an input to invent new services and products with a cultural and psychological dimension. The concept of creative city is usually presented in a vague manner, stating creativity as major factor for the development of contemporary cities, and encouraging to put it at the center of urban strategies. Creative city concept was designed by Charles Landry ,during the 1980s, he is well known through his book “The Creative City: A toolkit for urban innovators” published in 2000. The defended central idea is the concept of an «urban creativity». The difficulty of the concept lies in the sense of the word «creativity». He says that there are seven groups of factors involved in this concept/the creative /the quality of leaders/the diversity of talent/open-mindedness/he intensity of the local identity/ the quality of the urban facilities and networking opportunities.

In a few words, the creative city is, according to Charles Landry, a model of territorial development, a sort of

label to attract investors. Another emblematic figure of reflection on contemporary urban reconversion, Richard Florida, geographer and planner of Toronto, is widely regarded as the «standard-bearer of selective urbanity». He advocates a city that reinvents itself with the selection of its inhabitants. He studied in particular the correlation between the economic performance of cities and the presence of a certain class of the population, the «creative class». According to him, the growth of cities is dependent

on their ability to attract those whom he calls the «creative» who are source of impetus for the regional economy. To achieve this, cities must make sure to promote the combination of three fields. Ain the form of the 3 T, which are technology, talent and tolerance (cultural diversity, gay community and artistic ). It is possible to analyze the first limits, such as the trading of cultural values, new social inequalities

...Culture has been defined in a number of ways, but most simply, as the learned and shared behavior of a community...

why do we talk about creativity in relation to cities ? On the one hand the reason is obvious. Historically, creativity has always been the lifeblood of the city. Cities have always needed creativity to work as markets, trading and production centers, with their critical mass of entrepreneurs, artists, intellectuals, students, administrators and power-brokers. They have mostly been the places where races and cultures mix and where interaction creates new ideas, arts facts and institutions. And they have been the places which allow people to live out their ideas, needs, aspirations, dreams, projects. The construction of a creative city is a major challenge to attract investment, encourage consumption and create fine in wealth. Called creative class, easygoing and consumerist, is originally from the phenomenon of gentrification. Anglicism meaning gentrification, which symbolizes the renewal process of the population of a district by the appearance of new socio-economic profiles from upper social layers. Itâ&#x20AC;&#x2122;s a creation of an image and symbols, the instrumentalization of culture revolves also around a purely financial term. For these classes, social recognition is grown largely by outputs cultural accessibility of cultural quality and renowned services is paramount

In addition to this social aspect of culture, gentrification is strolling a commercial dimension reflected in the revival of the local shops (local and high quality products) and the revival of interest in traditional markets. Thus the local economy regenerates in a favorable way for local authorities who see the culture as a strategy of urban development. Thus, in the context of urban policy, culture is itself a tool of valorization of the space.

Discourse of instrumentalisation of culture The concept of creativity, as described previously, encompasses a very broad sector of professional activities which implicitly reduces the cultural contribution to a mobilizable tool In this concept, creativity cannot be restricted to the single cultural and artistic field .

creativity refers to the ÂŤcapacity, power that has an individual create,. to imagine and achieve something again. Also, among the many interpretations of the concept of creative city, artistic is given different roles, ranging from a very negligible, even trivial, presence in a central position. Then arises the question of exploitation what can be made of culture . Despite a high propensity of proponents to evaluate the artistic aspect as serving another purpose, networks of cities were built around the acceptance of culture as a central issue. It is a veritable imbrication of cultural policies and urban strategies shaping through this process of metropolisation. What is the most creative city in the world and why? There again, the researcher can answer categorically, as the creative city is not based on facts but on representations.

To scientifically establish, should define and compare indicators such as the proportion of the population working in the creative industries and the ÂŤcreative classÂť in the population, the share of creative in the local economy industries or even the importance of local artistic scenes. Richard Florida is rightly committed to define these indicators and thus establish so-called creative cities rankings It measures the level of creativity of a city according to 3 indices: talent (number of graduates), technology (number of patents) and tolerance . But there is no academic consensus on the validity of these indicators. Who are the players of the creative city? There is first the economic actors, producers of creative and cultural properties, the artists and cultural institutions that support. Then, there are those who visit the creative city, those who live there and consuming creative production. Finally, there are those who design the urban and economic development policies and inspired the creative city theories

Umea as creative city ! Umeå is the biggest city in Norrland and the twelfth biggest in Sweden. It is the seat of Umeå Municipality and the capital of Västerbotten County. The city is located on the Ume River. Umeå in figures Umeå becomes a city: 1622 Population: 119,000 Average age: 38

History of Umeå 3000 BC Rock carvings proof of first Umeå residents 1000 BC Settlements along the sea shores. 1622 Umeå is founded by King Gustav II Adolf. 1888 Fire in the city, 77 percent of Umeå residents are homeless. 1929 Nyströms Karosseri is founded(today Volvo Lastvagnar). 1957 Umeå Hospital, Regional Hospital of Upper Norrland. 1965 Umeå University opens. 1995 100,000 residents, an increase from 50,000 in 1966. 2010 The Bothnia Line opens. 2014 Umeå is the European Capital of Culture 30

Creativity is a fundamental element of all human existence. All individuals have more or less creative properties. Creativity was increasingly accepted as one of the strongest engines of economic growth, not only the creativity of individual genius, but above all creativity as a social phenomenon integrated in networks, enterprises, regions and communities. As in many cities of the world, the urban development of UmeĂĽ cannot hide the ruffle of town to grow from the perspective of creative city, by for example the inauguration of the University, the Arts campus, but also by cultural center (kultur vaven) Creativity has become the slogan of several civic and political actors which connect it directly to the interests of a specific class. I tâ&#x20AC;&#x2122;s a new selective urbanity in which some aspects, such as creativity, are valued making detriment to others Nevertheless, the discourse of the creative city says that this urbanity will bring economic growth and prosperity. The discourse of competition and the market, the political priority given to the issues of economic development flow and favored social groups. It also affected the transformation of local Government into the forms of public-private partnership that gives private actors an important role in the defining general interest of city priorities, as well as in the accepting projects design and ways of its implementation modes of management, (utopia / kultur vaven ).These mechanisms, by which the interests of some class are represented as the general interest . We explored changes in the mode of governance of UmeĂĽ . 32

Creativity would be a rhetorical instrument of investment in this neo-liberal version of urban capitalism that we are currently experiencing. How happends , this maneuver, when by the ambitions of a group of producers and consumers of a small portion of the urban economy, becomes the general program of political planning in the city? On the other hand the unexpected (spontaneity) is potentially innovative; this would be one of the forces of political action. While the work of Richard Florida are a plea for the development of an orderly creativity, planned by urban services, other currents instead emphasized the importance of the unexpected and the lack of control to spark creativity. Returning to Richard Florida and his theories on the importance of the creative class for urban growth ,wich is already an exclusive process for the simple reason that divide people into Creative and non-creative or , assigning properties occupational categories and class defined in this way. If Florida research is applied in political decision-making ,as it is natural .Umea become hierarchical and exclusionary, although of course it gives a certain perspective to the discussions. The transformation of the city as capital of European culture after its candidacy, without a doubt, affect solid players like city library and soon probably Sagateatern -by displacing them from their location in the Center of Ume책 Who benefits actually this type of urban marketing, and to whom is it made in ? 33

what made Umea a creative city ! A great variety of festivals ! House of metal Littfest MADE Festival Sami Week Umeå Blues Festival Umeå International Jazz Festival Umeå Open Umeå Pride Profile: Applied IT Folk music festival 180 dedicated IT companies. One of the most connected Sweden’s largest theatre com- cities in theworld. pany and many established in- Sweden’s IT Municipality in 2007. dependent theatre groups. InfoTech Umeå – a strategic Meeting places promoting initiative topromote IT in the the development of entrepre- region neurship and enterprise in the region ! Uminova Innovation Umeå Biotech Incubator Biotech Umeå InfoTech Umeå Entrepreneurship at school Umeåregionen Office for External Relations, Umeå University 34

Successful products Truck cabins, Volvo Lastvagnar Forestry machinery, Komatsu Forest Conference telephones, Konftel Laboratory instruments, GE Healthcare Västerbotten cheese, Norrmejerier Frontloaders, Ålö AB Business development, Uminova Innovation Biotechnology, BioTech Umeå Vehicle simulators, Oryx Simulations IT solutions, Teknikhuset

Competentwork force Umeå has the most educated work force in Sweden. One of the fastest growing regions in the country with a population of around 150,000. The population of Umeå has doubled over the past 40 years. 8,600 new jobs created over the past10 years. An expanding university. Increasing new business creation

Umeå is growing A young and well educated workforce. Excellent communications with the rest ofSweden and the world. Billions invested in industry, infrastructureand new housing. One of the fastest growing municipalities inSweden. Around 600 new businesses every year. Around 800 new jobs created every year.

Part 2 / Urban renewal through institionalized culture

Introduction I Cities are in competition for resources, investment, migrants and tourists on a global market. And the race for the European capital of culture is a good illustration of that. The economic stakes are substantial for the entire region. In addition, the label of European capital of culture allows the European Union to shine .The title is experiencing a growing boom But in this race to radiance a cultural fame can itself become a label and operate as such. Names recognized around the world, the distinctive logos, symbol of quality and value, all these qualities due to the great museums are also the qualities of a brand. Cities make tricks to make museums more glorious .This quest for the biggest Museum project now has a name, «the Bilbao syndrome». Culture is a central part of Umeå’s current urban transformation. It is an attempt to develop Umeå tourist town. By building landmarks, reshape the city in a form that represent a new image and pick old stories. Municipality is trying to build a brand “Umea” as an exciting place to visit.

Chronological Urban transformations generated by culture 00 19

1900: first edition of Västerbottens-Kuriren

1843 : first commission bookstore 1847 : the first issue of Umeå first daily newspaper, the Conservative Umeblade

90 19

1985 City Library moved into the premises in the block Idun 1986 Idunteatern inaugurated at the newly built Umeå People's House , 1987 The new College of Art opened in the former Scharinska mechanical pulp Amateur theater group Grot Theatre and free theater Profilteatern may use the old prison . Amateur theater group Grot Theatre and free theater Profilteatern used the old prison .

20 19

1994 In March, NCC rebuild Saga cinema to theater 1999 Profile Theatre takes over the old drill house on the former military area Umestan. 1999 galawen was closed down in 1999

1934 In October inaugurated Umeå People's House, Dance Evenings are quickly becoming popular, and together with the newly established Teaterföreningen [8] sets also addresses theater and operette

1926: Minerva moves his when over 2000 books to storgatan 39, current Court of Appeal

00 20

1993 New SFcinema in Umeå will be the newly opened Filmstaden,,

1937: Minerva moves to stogatan 34

the Court of Appeal for Northern Norrland, which is then in a decade came to serve as the city's cultural

1919 : an open air museum on Gammlia area was inaugurated

1907 stands Umeå's first theater

1916 : reset Music Society's activities because of the war, lack of musicians and creaking public interest.

1903 : establishes adult education association Minerva

1864 formed Umeå music societies

10 19

1938 Odéonbiografen, is one of Umeå earliest functionalist building

05 20

2001 :The free theater Skuggteatern is formed.

2002 NorrlandsOperan newly built theater and concert hall is inaugurated, both directly adjacent to the Old Opera House.

2004 : Ögonblicksteatern etablish a contract with Saga Theatre

2006 Cinema Royal closes and leave Umeå with only one cinema, filmstaden,

2007 :owners Astoria Cinemas sold their country sort cinemas to SF Bio, who immediately put down the cinema Royal( skandik -imperialroyal )after 64 years of operation

30 19

1937: Minerva moves to stogatan 34

1934 In October inaugurated Umeå People's House,

1938 Odéonbiografen, is one of Umeå earliest functionalist building

40 19

1943 : opens the cinema Royal

1943 : opens the new county museum, Västerbotten Museum

50 19

1954 : inaugurated the new library premises on kungsgatan 80

1959 : inauguration of sagacinema

60 19

1961: cinema Röda Kvarn closures 1964 : amateur theater group Umeå Student theater , which in the 1970s was to keep to a rock cavern during Döbelns Park and then changed its name to Cave Theatre

70 19

1973 : folketsbio starts in umea

1974: Ögonblicksteatern were formed and Norrlandsoperan

1969 In May added the cinema Uman and replaced by the spegeln at storgatan

10 20

2014 In connection with the inauguration of Culture year in late January was inaugurated guitars Guitars museum the Museum of the former Vasaskolan, where even rock club Scharinska moved their business. .

2 1

3 4 A

1903 : establishes adult education association Minervain the Town Hall, which can be seen as the beginning of the libraries in Umeå

In 1915 : skandia cinema opened

1934 In October inaugurated Umeå People's House,

In 1918 : Svea cinema opened 4

1919 inaugurated an open air museum on Gammlia area

1938 Odéonbiografen, is one of Umeå earliest functionalist building

1907 is Umeå's first opera house

1908 Thalia was built as umea’s first permanent cinema

1943 opens the new county museum, Västerbotten's museum next to the open air museum at Gammlia

Court of Appealin 1926, it serve as a cultural center with both library and museum. The large auditorium was used as concert and theater center until 1936

1 1926: Minerva moves his when over 2000 books to storgatan 39, current Court of Appeal

1937: Minerva moves to stogatan 34

Kungsgatan and storgatan as mainly street hosting cultural facilities

3 1954 : inaugurated the new library premises on kungsgatan 80

2 A

6 5

reuse existing facilities to host cultral activities

1954 : inaugurated the new library premises on kungsgatan 80

1973 : folketsbio starts in umea

1 1986 Umeå may finally, after more than 70 years of waiting, a full theater stage when Idunteatern inaugurated the newly built Umeå People's House

1959 : inauguration of sagacinema 6

1961: cinema Röda Kvarn (Thalia)closures

1974: Ögonblicksteatern and Norrlandsoperan were formed

1981 Inauguration Bildmuseet on Gammlia area next to the Västerbotten Museum

1987 : Amateur theater group Grot Theatre and free theater Profilteatern may use the old prison

The new College of Art opened in the former Scharinska mechanical pulp mill at the Ume River.

2 1985 City Library moved in the neighborhood Idun, next to Umeå People's House at Vasaplan

1 the cinema was demolished in the 60 century , , nowdays Alhens occupy the site

1994 : In March, NCC rebuild Saga cinema to theater hall with 376 seats, which would be rented out to the Revue Company and Ögonblicksteatern.

3 1999: Profile Theatre takes over the old drill house on the former military area Umestan

Galaxen Building was Umeå’s Folkets Hus, between 1934-1984, on the intersection of Östra Kyrkogatan and E12 In 1978, there was a general struggle against the suggestion to move Folkets Hus to Vasaplan. In 1989 Old Folkets Hus Building became Municipal (but self-governed) Youth Centre Galaxen. It was for many years the centre for radical groups and hardcore youth scenes in a time of militant local animal right movements. It was closed down in 1999 and attempted to be squatted but failed..

2010 december : The City Council decides that a new culture house, Kulturväven, is going to be built and that it will include a new library and a women's history museum.

2013: scharinska closes

Pushing out grass roots culture from the city center

2 1 F

Centralizing culture by ithe inauguration of kultur vaven .The aim is to create a center, that can easily be captured on photo and project a new image of Umeå as an attractive tourist city

2013:

The former place of Verket was underneath Thulehuset, in the quarter next to where Väven is located today. Verket was a autonomous music centre and it’s space was rented from a private landlord. When Balticgruppen and the municipality decided to build Väven – Verkets landowner decided to tear Verkets building down to replace it with new office spaces, as the area was getting more attractive. Verket campaigned to find a new home, and was in 2013 able to rent a old sports club house outside the city centre where it since then has been located.

2 The Old Library was in Rådhusplanaden. It was moved away in 2014 and today is placed in Väven. In the same year, there was the last projection at Folkets Bio Cinema. Today this cinema is not working anymore. The area around Folkets Bio was a leftish one in the past with different uses, but today is a pure residential area

decision that the support to sagateater will end in 2014

The Saga Theatre was managed by Umeå Teaterförening both as a stage for larger productions, as well as a home for the amateur theatre groups of Umeå. When the municipality decided to build Väven, they moved the rental funds from Saga to Väven, which let the owner of the theatre building to apply for a permit to tear it down, and replace it with housing apartments. Therefor, Saga will be closed down, trying to find new space for the smaller theatrical groups.

the waterfront as a projection of the new image of the city

The city ‘s image at the service of attractiveness Marie-Louise Rönnmark explains: «Imagine that you come to the Culture fabric as a tourist, or as scientists, or whatever you are. You will come to your hotel room and go to that meeting that you are there, but you do not eat breakfast at the hotel but on Culture fabric. And so going there maybe a theater or any other cultural events.» Trough this quote we notice the absence of Local cultural practitioners and Umeå residents . Culture fabric is thus primarily for those who do not live in Umeå.Since it will be put on the map and become a magnet that attracts people, but probably only for a short period. Moreover Rönnmark lift up the creative class, «researcher», in the quote . This quote points to a goal from the municipality to make Umeå a conference city for scientists and others in the creative industries. If the ambition is there, it is a highly speculative project. Based on this sentence, and the more developed urban transformation caused by urban transformations, the municipality has focused on providing a new image of the city image , starting from the water as projection of the new ambition of the city to be creative city . As it says in Florida’s theories the city must make room for the many different expressions and let the city develop from below. Umeå’s way today is the exact opposite - when politicians and officials from above has a vision of Umeå’s center they try to implement it .

The aim is to create a center, that can easily be captured on photo and create image of Umeå as an attractive tourist city «In the long term , we want to be Norrland’s Christmas market.» says Thomas Nilsson , center developer at Umeå C Municipality is hoping to attract tourists by The guitar museum opened in Vaasa School’s old premises (where the nightclub Scharinska moved). The museum is also supposed to host various temporary exhibitions . There will be an exhibition on hardcore’s history in Umeå. In contrast to this, the municipality’s conduct during the time the hardcore scene in Umeå was greatest reset. Hardcore was seen as a danger that the municipality did quell. The municipality decided to close it , because of the movement in central game room galaxy ruled independently by people from the hardcore movement. Instead of that was created Hamnmagasinet, where the municipality had its own employees, who would ensure that the municipality had the insight and control on it. Now, when the movement became less and its most radical elements toned down, the municipality choose to pick up the story in order to show it as an example of Umeå’s grassroots culture and wallow in its radicalness.

cultural vision of the city Umeå’s cultural scene is often presented to be rooted in a «do it yourself spirit». Club activities developed early and has focused both on its own cultural performers and attracting guest performances to the city. Musiksällskapet, Minerva, Shakespearesällskapet, Teaterföreningen, Filmstudion and Studentteatern have all contributed to the development , stimulate interest of local culture The heaviest player is undoubtedly the Norrland Opera, but also experienced independent theater like Profilteatern and Ögonblicksteatern, as well as the many festivals - Jazz Festival, Folk Music Festival, Song Festival on Holmön, MADE Festival and Umeå Open – all demonstrate local professional level. In autumn 2009 was appointed Umeå, together with Riga in Latvia to be European Capital of Culture 2014. It was the start of an investment in «creative growth» and a radical transformation of the city. Creative growth is reminiscent of Richard Florida .(A certain form of) Culture is investing . Municipality pointing out that «every krona give more back» . The reasons for the financial investment in culture is thus that it creates economic growth which proves that Municipality’s interest was not in culture but culture is expected to generate economic growth It is the use of culture to promote and facilitate capital accumulation .

However beyond the dramatic events and aspect, what is the political and aesthetic sense that emerges from this stack of proposals? The Culture fabric is mainly an urban development project. It is also clear from the Municipality’s plan for the central districts ,where it is referred to as a «prestige project», that will put Umeå on the map as “Norrland’s capital”. Culture has a central place in Umeå urban development referring to Florida’s theories according to politicians , but at a closer look it is obvious that Florida’s theories have no significant role. Florida does not suggest that major prestige project to be built to serve as a trademark for the entire city. Culture fabric is instead a project created and performed by politicians in Umeå, but clearly linked to cultural practitioners themselves. It is not just that culture fabric does not contribute to the street close to the culture, it hinders it. As a consequence of Culture fabric the city library left their previous downtown premises to move into, Sagateatern lose their financial support when the municipality does not want it to compete with the scene in Culture fabric, rope and playing hall Administration had to move from their premises, which was near the location of Culture fabric

Centralization for the city image

HSB Umeå Apartments Planned to replace saga theater

Kulturvaven

Skate park Hamnmagasinet

Skeppsbron

Parkour Park

KULTURVÄVEN

Broparken

Black box /wardrobe/foyerand café/offices /garage/food workshop/Art gallery /digital workshop /museum of female history/Music room /multistage/Art workshop /cinema /auditoriums/fairytaleroom

Rådhusparken

Hotel owned by balticgruppen

Flexible Event Library, Hotels, Restaurant, Black Box

Zone A Zone B Zone C

Retail

School of Architecture 900 – 2 000 SEK 900 – 1 400 SEK

850 – 1 100 SEK

900 – 2 000 SEK

700 – 950 SEK

Business Incubator

Housing

950 – 1 400 SEK

1 000 – 1 550 SEK

Academy of Fine Arts

Housing

2 000 – 3 800 SEK

1 200 – 2 000 SEK

Institute of Design

Retail

Umeå Art Campus

”Park of the Seasons”

Space Offices and gym

Museum of Modern Art

Annual rent per m2 by zone ,2014

Vaven is a reflection of an ideology, rather than an identity ...

The land owner saw an opportunity to increase profits by the expected increase in property values in the area with Kulturvävens completion. Grassroots culture has hard hit by the «urban project» thus already before the economic problems came up Culture Fabric and whose economic costs, risks turn against the whole Umeå’s cultural scene For culture , however, the rent is not a huge problem today when it will be on the Culture Committee budget, but will be covered up by the municipal government . A bigger problem is that the operating costs of cultural activities will soar and this will be on the Culture Committee. The Cultural Committee is not more involved into the planning process of the content of a culture may seem strange. Tomas Wennström, culture chairperson, explains that the project is «regarded as an urban development”.

privatization of the city center The influence of UMEÅ Baltic, Norrporten and other private actors on Umeå’s development has increased. Their money and more or less extravagant ambitions about what to build on their properties is crucial for the city as increasing density of population is a target. Umeå dependens completely on the existence of private property owners, who want to build the new Umeå, according to city architect Olle Forsgren. The target population is 200 000 inhabitants by 2050, this drives the densification of Umeå’s center and puts pressure on city planners. 50,000 from of approximately 70,000 new residents will live within a five kilometers radius from the Town Hall Square . This means that in favor of a dense city , the old character of the city with a low profile will be replaced with tall buildings. And that requires alertness from property owners, as the municipality is manageable, even for the more spectacular projects. The individual property owner is usually the initiative, and we also want to encourage them to invest in and develop their blocks. “What we have to do is about seeing the big picture and that the projects fit into our vision of Umeå”, says Olle Forsgren . If the city should be densified, more and more of Umeå’s territory will be pedestrian and residential mixed with commerce and activities

M2VALUE OWNER 1 3020 MOFAB 14 449 000 2 2061 BALTICGRUPPEN 10 215 000 3 960 FASTIGHETSBOLAGET TRATTKANTARELLEN AB TSBOLAGET TRATTKANTARELLEN AB 0 4 962 TSBOLAGET TRATTKANTARELLEN AB 3 105 000FASTIGHETSBOLAGET TRATTKANTARELLEN AB 5 4210 DRAGONEN FASTIGHETER AB EN FASTIGHETER AB 46 226 000 6 4213 NORRPORTEN 61 600 000 7 1776 NORRPORTEN 26 750 000 8 1256 BOSTADEN 19 127 000 9 746 BOSTADEN 9 986 000 10 1280 BOSTADEN 14 513 000 11 1258 UMEÅ MUNICIPALITY 13 315 000 12 1233 UMEÅ NYKTERHETSVÄNNERS BYGGNADSFÖRENING KTERHETSVÄNNERS BYGGNADSFÖRENING 0 13 1255 UMEÅ MUNICIPALITY 15 595 000 14 1238 FRÄLSNINGSARMÉN 0 15 1588 PRIVATE OWNER 10 076 000 2199 FASTIGHETS AKTIEBOLAGET TEGELHÖRNAN TS AKTIEBOLAGET TEGELHÖRNAN16 41 688 000 1054 FASTIGHETS AKTIEBOLAGET TEGELHÖRNAN TS AKTIEBOLAGET TEGELHÖRNAN17 27 120 000 18 2016 LERSTENEN KONTOR AB 41 600 000 19 4543 H H FASTIGHETS AB 85 545 000 20 4941 NORRPORTEN 84 800 000 21 1218 UMEÅ MUNICIPALITY 0 BOSTADEN 0 23 834 BRF SWEA 13 671 000 4110 PRIVATE OWNER 25 1102 299 000 PRIVATE OWNER 26 108 PRIVATE OWNER 2 294 000 27 108 PRIVATE OWNER 2 307 000 28 1122 128 000PRIVATE OWNER 29 1197 8 745 000UMEHEM FYRA AB 30 1220 BRF STÄDET 15 279 000 2071 FASTIGHETS AKTIEBOLAGET TEGELHÖRNAN TS AKTIEBOLAGET TEGELHÖRNAN31 38 823 000 32 1054 EN FÖRVALTNING AB 9 278 000LERSTENEN FÖRVALTNING AB 33 1032 PRIVATE OWNER 5 339 000 34 1252 UMEHEM FYRA AB 16 847 000 35 2500 UMEHEM FYRA AB 29 600 000 36 1272 ELIMFÖRSAMLINGEN UMEÅ SAMLINGEN UMEÅ 0 37 2491 UMEHEM FYRA AB 27 600 000 38 1236 FASTIGHETSBOLAGET AUDUMBLA 4 TSBOLAGET AUDUMBLA 4 25 809 000 39 1235 FASTIGHETS AB UMAN 11 570 000 40 1260 PRIVATE OWNER 13 039 000 41 1239 UMEHEM FYRA AB 33 020 000 42 2454 BRA 4 AB 77 600 000 43 1523 BALTICGRUPPEN CENTRUM AB UPPEN CENTRUM AB 19 147 000 44 1206 BALTICGRUPPEN CENTRUM AB UPPEN CENTRUM AB 38 800 000 45 8173 UMEÅ KOMMUN 38 001 000 46 5021 FASTIGHETSBOLAGET ARKEN HB TSBOLAGET ARKEN HB 44 800 000 47 2127 BRF UMEÅHUS NR 32 44 840 000 48 31 0 UMEÅ MUNICIPALITY 49 1182 HAFORS AB OCH BRINKEN I UMEÅ AB AB OCH BRINKEN I UMEÅ AB 3 520 000 50 1363 BJÖRKSKRUVEN 22 I UMEÅ AB RUVEN 22 I UMEÅ AB 3 740 000 51 3004 DIÖS 34 200 000 52 405 UMEÅ MUNICIPALITY 0 53 3807 BRF HEDE 104 500 000 54 1325 BRF KRAFTEN I UMEÅ 10 978 000 55 926 BRF HEDE 104 500 000 56 1482 NORRPORTEN 20 825 000 57 720 15 911 000BRF KRAFTEN 58 766 PRIVATE OWNER 8 958 000 59 1154 LÄNSFÖRSÄKRINGAR 18 049 000 60 2320 FASTIGHETSBOLAGET FABRIKEN AB TSBOLAGET FABRIKEN AB 0 61 815 LÄNSFÖRSÄKRINGAR 17 318 000 62 1131 LÄNSFÖRSÄKRINGAR 18 945 000 63 3120 LÄNSFÖRSÄKRINGAR 60 095 000

VALUE 14 449 000 10 215 000 0 3 105 000 46 226 000 61 600 000 26 750 000 19 127 000 9 986 000 14 513 000 13 315 000 0 15 595 000 0 10 076 000 41 688 000 27 120 000 41 600 000 85 545 000 84 800 000 0 0 13 671 000 0 2 299 000 2 294 000 2 307 000 2 128 000 8 745 000 15 279 000 38 823 000 9 278 000 5 339 000 16 847 000 29 600 000 0 27 600 000 25 809 000 11 570 000 13 039 000 33 020 000 77 600 000 19 147 000 38 800 000 38 001 000 44 800 000 44 840 000 0 3 520 000 3 740 000 34 200 000 0 104 500 000 10 978 000 104 500 000 20 825 000 15 911 000 8 958 000 18 049 000 0 17 318 000 18 945 000 60 095 000

45 2

22 48

4 47 23 5 29

25 26 27 28

55 58

VÄSTRA NORRLANDSGATAN

32 6

31 50

NYGATAN

64 35

SKOLGATAN

37 39

KUNGSGATAN

74 19

20 42

21 Till Häst Genom Västerbotten, Sven Björklund & Olof Wretling

43 44

COMPANY/PRIVATE

BALTICGRUPEN + MUNICIPALITY

BALTICGRUPPEN

MIX

MUNICIPALITY

82 116

103

104 86

105

117 118

119 120

VÄSTRA NORRLANDSGATAN

121

122

106 123

RÅDHUSESPLANADEN

NYGATAN

107

108

124

125

110

109

SKOLGATAN

111

126

KUNGSGATAN

112

PARKEN

99 98

113

114

10 0 10 1

10 2

115

127

NO 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127

M2 2788 38181 1142 1151 1252 2817 1508 1488 1571 1656 1587 4810 1971 1348 382 1554 3656 884 1267 1265 2537 2698 2908 979 3491 965 3993 5006 3663 8229 1752 740 3145 3864 1584 746 2515 1038 948 8862 875 864 5768 926 5721 501 990 5333 6817 2346 2158 2619 2704 1105 1594 1170 1093 1204 1198 4471 8584 2416 5939 8901

OWNER UMEHEM FYRA AB FASTIGHETSBOLAGET UMAN AB KEDJAN BYGGNADS AB KEDJAN FASTIGHETS AB DÖBELN FASTIGHETSBOALGET UP2 I UMEÅ AB HSB UMEÅ EKFÖR FASTIGHETSBOLAGET SCHERDALDER 4 ET WIKNER FASTIGHETSFÖRVALTNING AB PRIVATE OWNER DIGMO CENTRUM AB HANDELSBOLAGET NÄVERN DIGMO CENTRUM AB FÖRENINGSSPARBANKEN AB BALTICGRUPPEN CENTRAL AB VÄVEN I UMEÅ AB BALTICGRUPPEN CENTRUM AB UMEÅ MUNICIPALITY BRF BÅGEN BRF BÅGEN BRF MINNET BRF ESPLANADEN PROFIL HOTELS PRIVATE OWNER FASTIGHETS AB UMAN FASTIGHETS AB UMAN DIÖS UMEÅ MUNICIPALITY UMEÅ FOLKETSHUSFÖRENING BALTICGRUPPEN CENTRUMHANDEL AB FASTIGHETSBOLAGE OLSSON-ÅSTRÖM HB UMEÅ MUNICIPALITY UMEHUS AB TOR K/B UMEHUS AB HANDELSBANKEN FASTIGHETER AB STORSTADEN I NORRLAND AB FASTIGHETSBOLAGET FILMEN I UMEÅ AB PINGSTKYRKAN UMEÅ NNJ FÖRVALTNING AB UMEÅ MUICIPALITY BRF OPERATERASSEN PRIVATE OWNER UMEÅ MUNICIPALITY UMEÅ MUNICIPALITY UPAB BALTICGRUPPEN CENTRUM AB EFS MISSIONSFÖRENING DIÖS NORRTORNET UMEÅ HB UMEÅ MUNICIPALITY (H/B RAN) BRF RAN 2 BALTICGRUPPEN CENTRUM AB KFUK-KFUM GAZETTE BOSTADEN PRIVATE OWNER MOFAB BF HUS AB BOSTADEN BOSTADEN UMEÅ MUNICIPALITY LERSTENEN UMEÅ MUNICIPALITY UMEÅ PASTORAT

VALUE 60 200 000 76 000 000 14 419 000 7 414 000 17 498 000 56 400 000 39 945 000 53 400 000 24 470 000 39 266 000 75 000 000 239 666 000 75 800 000 46 800 000 6 940 000 0 22 600 000 22 000 000 76 362 000 76 362 000 32 928 000 35 697 000 67 160 000 6 923 000 55 200 000 2 641 000 60 832 000 100 916 000 0 252 800 000 76 600 000 6 664 000 92 369 000 92 224 000 15 109 000 13 648 000 8 026 000 8 470 000 4 759 000 0 11 264 000 4 172 000 0 0 63 959 000 34 714 000 0 168 310 000 79 306 000 36 000 000 14 642 000 19 101 000 0 0 20 428 000 4 005 000 13 347 000 11 092 000 10 192 000 64 748 000 0 0 0 0

Some private ideas, like new towers will change the cityscape turning it into new high-rise .For instance, thule house Norrporten project and projects by Balticgruppen in the neighborhood Forsete, at Rådhusesplanaden and Vasaplan. Umeå’s land and development director Stina Johansson, totally agree with the private operators importance – “There is of course an interaction between the municipality and others. But we should be pleased that we have others who want to invest here”, she says.

Cultural gentrification and politicians vision The process of «gentrification» is the result of the free functioning of the land market, but it can be stimulated by town planning operations. It is then too the result of public policy The city faces acute situations of social segregation, and it scears that the current urban transformations may accentuate divisions between territories Municipal politics does not hide its willingness to « reconquer the city centre» but if this policy has already resulted in many exclusions, the process of ‘gentrification’ rather overall failed. .However, pressure on land is continuous, which weakens still further even more the poorest population. ‘Exclusion by the market’ creates movements of people to neighborhoods, that become marginalized. These private investments are concentrated on a central basis, at the expense, once again, of the other districts. As for programming, it offered attractive events and extra undeniable activity. However, and beyond the dramatic events and aspect, what is the political and aesthetic sense that emerges from this huge amount of proposals . Another possible development of Umeå is bigger economic inequality. This is done by money spent to attract investors, subsidizing and creating into partnerships with companies. In short prioritized the creation of an attractive city for tourists and investors, not taken into account umea residents direct needs.The idea is that these investments will give returns benifts . The risks are large when there is no assurance that investors and tourists will be attracted to Umeå. 65

From amateurs to professionals One of the points covered during the cultural year is the importance attached to the participation of residents and especially amateurs passionateon cultural cultural production. Wanted to take part in this event, my idea began by asking around me what events and activities you are interested in , a brief discussion in laundry room changed my way and I went to the discovery of an unknown art (a relational theatre) .My encounter with this group was very rewarding for my thinking, it allowed me to rethink the notion sharing but also the sense of community, spex is not only a theatre group, it is also a small community created around this art. As students the majority have access to University facilities from meetings around dinners or projections of old shows, spex group develop more than professional relationship . alas this art so much appreciated by students is little known by the residents of the city. Thatâ&#x20AC;&#x2122;s how i had the idea of organizing a street theater open to the participation of amateurs and residents of the city .

My work has started from a dialogue with resident in a common space , « laundry room ». My conversation start from asking what kind of events my unknown neighbor went to during her stay in Umea , she told me then about spex groups as student theatre group , so i start emailing theatre groups in Umea and try to investigate their coexistence in the cultural life of the city

Hello! I apologize for the late reply but all of us have had a lot to do these past weeks. I was wondering if you had an opening this week to meet? With regards,/Armin Hashem

i'm student from architecutre school in umea ,I am interested in various theater 's group that occur in the city, it is possible to meet a member of the group or attended a rehearsal, , I will not take much of your time a meeting allow me easily to explain my intentions. waiting for a positive answer /my best regards /bouroucha Soumia

Hello! s it possible to meet you i person some time next week so that you can give a broader view of your intentions, goals and so on? I find it easier to talk to and understand people in person. The Umespexarna board Kenny Svahn Vice President Umespexarn

My meetings allowed me to know more about the organization but also the functioning of these groups, Tina Ynk Vesterlund (producer and part of direction spex group) invited me to attend repititions and olso old projections of spex performance

Hi! Today we have a run of our play Making Senses at 15 at Sagateatern. We speak both Swedish, English and Arabic so it will suit you I guess?! Just come if you like, but we won´t have time to talk with you until maybe next week. The opening is tomorrow ;-) But welcome at 15 sharp! Bästa hälsningar ohanna Salander Konstnärlig ledare Ögonblicksteatern

Hej Soumia! Sorry but we don't got any time for the moment.I hope you find some other place to meet. /Jenny

Hi Bouroucha! We will start rehearsing The woman in black which we have played since 2001 during next week. But I'm afraid I can't let you join in on the rehearsal. But you should really see that one! At the moment we have guests from Scotland who do a play called Factor 9 and they play it from now on until Saturday. Are you interested in coming to see it? All the best,/Patrik

My contact with professionals was very different I had to pay if i want to see how it wroks , even though I don’t understand , the only repeat that I attended , I had to invite back those who speak Arabic , so by the end of the repeat , i couldn’t ask more about the organization of a professional theatre group a pure example of capitalist society , time is money and nothing can be done without a profit

Spex : An extremely funny theatre/musical performed by university students. Stories often relate to history and include jokes of other student organizations, celebrities, political figures

The spex music is always provided by a live orchestra, all musicians are also students. The spex-tradition originates in Sweden, the first spex was performed in the year 1851 in Uppsala, Sweden. The oldest spex-tradition in Finland is carried out by Medicinarklubben Thorax (medical students at the university of Helsinki) who performed the first spex in 1952

etc.

we notice through the process of investigating the coexistence between amateur and professional that Saga theater is shared but also the only place where they coexist .Therfore Professional have been involved in umea2014 event with amateur groups that are part of schools or association .

spex groups and groteatern groups which began with students performing as amateurs didnâ&#x20AC;&#x2122;t get any support or opportunity to be part of the cultural year . It is an exclusive process by eliminating popular or grass roots culture .

Therefore, I decided to organize street theater with local residents , based in an urban scenography Where anyone can participate

Starting with the collection, the fabrics and materials for construction , i could know jimmie Eriksson , who ask about the idea of the project and wanted to help somehow . It allowed to know about a cultral space localted in the basement

itâ&#x20AC;&#x2122;s not a lot going on project-wise rignt now but we are always looking for active people who want to realise dreams and need a place to do this or dont have the tools. Anything is possible with the collective experience and tools available from and with all the people there. It is open for anyone to come there on tuesdays mainly but if you apply for a key you can go there any time any day.

Jimmie : Do you have a workshop for making props and costumes somewhere or is it something you do entirely at home? I am involved in a "fĂśrening" called "UmeĂĽ Hackerspace" wich have a workshop at Fabriksgatan 8B not far from vasaplan. This is a place where we have tools and space for making things. It could be shared

Open source /sharing /basment

0,06m

0,20m

0,34m

0,15m

0,80m

0,20m

0,80m

0,04m

1,20m

0,06m

junction element

Plywood piece

3,60m

0,24m

support of wooden palets

recycled wooden palets

AďŹ&#x20AC;ordance /gift

7 assembled

4 3

0,04m

2,80m

0,04m

Vertical elments for curtain

Bouroucha Soumia

the aim of the intervention is to afford a mobile stage as gift to amateurs performers , so open up an opportunity to perform in puclic spaces of the city but also indoor spaces .it invite everyone to take part and socialize through performing or even by being a spectator. Moreover reusing recycled materials expands the accessibility to users to reproduce and make a new one .

0,20m

UmeĂĽ School of Architecture

Recycling materials to make it accesible to everyone

Mobile stage to be use for interior and exterior spaces

Laboratory of Immediate Architectural Intervention

Modular separate pieces to ensure the ďŹ&#x201A;exibility and the mobility

Learning / collective/ interest after publishing the event on social media networks, people wanted to participate with Arnaud , i start thinking what could be our parcours and its sens

Participation /engagement / collaboration

Event / Interaction /performing

questionning /curiosity /impovisation

perfom /inclusive / urban space/collective/ interest

Designing public space as part of socialization

The idea of street theatre opened our

interactions

with residents of the town but also arouse their curiosity, the same principle as spex, the idea was to involve residents in this urban scenography, by opting for heavy wooden pallets participants could not escape the collaboration but also the need of the other. This urban scenography helped to create a community around the stage . Curious but also artists have joined the event and our group was expanding gradually as we approached the city center, it allowed us to consume the urban space in other way by occupying the threshold of shopping mall utopia for short performance, passers-by couldnâ&#x20AC;&#x2122;t will prevent sitting on the florr and admire, moments of improvisation where even hidden artists who had no chance to perform in the city took the initiative to play also , this was a pleasant exchange but also of sharing.Street theatre was an intervention that allow us to understand was the importance of collaboration when we were carring the stage , sharing hidden talents but also allowed us to socialize with local residents , first by asking for help but also by performing in public spaces . 80

H igh spending compared to the Swedish average desire for a local contribution to the festivities and exhibition «culture-driven growth» favors known property owners while culture is depleted

Arbetarpartiet:

culture must also live outside the Culture fabric, throughout the municipality.

money must now be added just to pay rent and stay open - but it’s not automatically create more culture

«culture-driven growth» favors private owners

Support for festivals and exhibitions should go to the bottom of projects with local roots

In 2012 it was 1912 SEK / inhabitant - twice as much as in Uppsala

reallocation of resources in favor of non-profit associations and groups

A clear action plan for the inclusion of underrepresented groups must accompany all project applications

The festivals that do not show an annual improvement towards a gender balance at 50/50 will get reduced support. Let the culture bigger space in Umeå

Continue to support Norrlandsoperan and well know festivals .

Continue to prioritize association contributions

Culture fabric as a great supplement .

Give the County Museum adequate resources for exhibitions and programs

The increased costs for premises in the fabric should not be paid by the voluntary sector, or encroach on branch libraries.

Increase support for cultural associations to meet

assume that culture is regarded as its own purpose and means and not something that will promote growth to have an intrinsic value .

The municipality must win the local cultural confidence by enhancing the cultural budget

Feministisk initiativt:

Documentation /Judgement

Documentation concerned the cultural vision of each political party in the city, and as judgment make out common ideas of how should culture be planned or thinking in the city in relation to its inhabitants

82 Folkpartiet:

Norrlandsoperan need to obtain funds sufficient to pay and productions.

The theater must be secured a new scene when Sagateatern disappear, and options arranged for the amateur associations that have operations there.

All should feel that they are welcome to take part of, and participate in, the selection municipality contributes

Activities shall be given reasonable economic conditions and a free hand to use resources in the best way .It may not be too much focus on festivals.

The support for cultural associations to apply the entire municipality

Efforts must be made to children and teenagers to continue with the reading into adulthood

the neighborhoods take part of the cultural events.

Socialdemokraterna :

support to the voluntary sector.it should be designed with equality and gender mainstreaming ,youth and diversity.

all forms of culture and art should be accessible to all inhabitants of Umeå

Continue to develop the libraries to awaken and strengthen the reading habit

Continue to develop Umeå as Sweden’s most cultural and festival city after the Capital of Culture year 2014.

Developing cultural fabric into a cultural meeting place for experiences and personal creativity for all Umeå residents .

all children have the right and access to cultural experiences and personal creativity in school and at leisure.

Culture should not be guided by decisions from above but thrives best among the people who constitute its core. give culture the opportunity to grow freely in both amateur and professional level.

Let Culture fabric become an inclusive building

Culture warranty for children and young people to remain . That every child gets an experience per semester and that they themselves will create is important for culture will be fun .

Cultural expressions should not only be concentrated in the city center .

Kristdemokraterna:

strengthening support to associations and groups free cultural performers, retain cultural boost money for fresh initiatives

Let Culture fabric become an inclusive building. It requires generous opening hours and the greatest possible access to the premises - at significantly subsidized prices

Centerpartiet:

Bouroucha Soumia

Moderaterna :

Working for an inclusive leisure in which diversity and equality must be promoted.

Democracy, integration and equality are important goals for culture and recreation policy

A rich cultural life gives a creative society where people have the opportunity to meet, develop and think freely

Miljöpartiet :

schools and culture shall cooperate in every child’s ability to find pleasure in reading and thus acquire the reading skills that are the foundation for all other learning.

Possibility of cultural experiences is one of many key components to Umeå for becaming attractive city to live in and visit.

Umeå School of Architecture

Laboratory of Immediate Architectural Intervention

all forms of culture and art should be accessible to all inhabitants of Umeå

money must now be added just to pay rent and stay open but it’s not automatically create more culture

Support for festivals and exhibitions should go to the bottom of projects with local roots

prioritize association contributions

Opt for Sami culture even after the Capital of Culture year 2014.

Increasing support to the music school and ensure means for integration

all people to exercise and take part of the culture on equal terms

Gammlia area as important to support.

The objectives of the European capitals of culture may seem contradictory. The project must provide a showcase of international dimension to the city, while relying on the artistic potential of the territory and a very strong participation of cultural actors and the local population. Highly event-driven programming aims to strengthen the structuring long term of the cultural field. This restructuring must not take the form of a reformatting of the cultural fabric, on behalf of the economic profitability more or less imposed from above, but the diversity and abundant creativity of the city. There is a need to build a project on shared territory and with obligations of results, respecting cultural actors and all components of cultural creation, by integrating the whole of the relations and artistic exchanges into play within the society. ÂŤA city is not a brand. A city is not a company. A city is a community. It is about to take the relay and defend the places that make life worth living in this city, which is not part of the target group of the city growing. What if the inhabitants refuse to simply be a factor in the regional marketing? Âť. The battles fought on behalf of culture, privatization policy, which has been the capital of culture of real expression, is in issues of the next step more affecting large sections of the population. In particular, this applies to questions about the rising of prices of real estate in recent years, that have touched such places as Sagateatern. 84

Also the creation of an image and symbols revolves the instrumentalization of culture also around a purely financial term. The construction of a creative city is a major challenge to attract investment, encourage consumption and create wealth.

Called class creative, easy and consumerist, is originally from the phenomenon of gentrification meaning which symbolizes the renewal process of the population of a district by the appearance of new socio-economic profiles from upper social layers In addition to this social aspect of culture, gentrification in trolling a commercial dimension reflected in the revival of the local shops (local and high quality products) and the revival of interest in traditional markets. Thus the local economy regenerates in a favorable way for local authorities who see the culture as a strategy of urban development

Part 3/ alternative way of imagining cultural life of communities in the city

Introduction The cities were created from human activities that have taken place in a concrete space, limited, defined. These activities have always been linked to the needs or interests of people. The needs or interests continue to be, mostly, subjective and managed by an individual or small group of individuals who are elected by the inhabitants of the town, or not; who know this city, or not; and decide activities following certain guidelines, laws, strategies and objectives. Since the objectives are different, the activities are diverse and may also have an international or local, ephemeral or lasting, prudent or inconsistent. These activities can have a purely economic, sporting, cultural, scientific, technological, etc. On the one hand the city is formed by streets, roads, islands, equipment, etc. living variations. It is is also a space, by its nature, related to time. The city is day after day confronted with scientific and technological developments ,economic movements and sociological changes . The city also is through physical references that symbolically mark or delimit the territory. On the other hand, the past is part of the present and the future of the city. Erase the traces of the past would be a collective impoverishment, brought to its limit, would mean the death of the city. Architecture without history, without being integrated into its surroundings, without being vitalized by an intense and various social usage, is an inert body. 90

In a more sensitive approach, the city lies in the heart, feelings and emotions of citizens who express the vital flow necessary between the container and the contents of civic life. The city exists to the extent that its inhabitants take ownership, and progresses through the developing some common behaviors by specific group of people. The city consists of stories, experiences and memories of its inhabitants . There is the diminishing sense of locality, of shared place and identity that has made cities less clearly defined as places. Communities are now increasingly defined on the basis of common interests rather than in geographical terms. Even at the level of the neighborhood there is often no community, because the factors that give rise to it â&#x20AC;&#x201C; social homogeneity, immobility and the need to cooperateâ&#x20AC;&#x201C; are no longer there.

Density of population in UmeĂĽ municipality 50-999 inhabitants/km2 1000-1999 inhabitants/km2 2000-3999 inhabitants/km2 4000-5999 inhabitants/km2 >6000 inhabitants/km2

Spatial repartition of associations and organization in Umea Cultural associations and organizations in Umea

Galleri Andersson Sandström Art Gallery Umeå Konstskola Art School hoo ol Umedalens bibliotek iotek Library Umedalen dalen Skulptur S k ul ulptur Sculpture ulpture ul e Park Park ABF Musikhuset et Music Studios os

Midg High Thea Västerslättskyrkan Church

Grubbebiblioteket Library

Grisbackakyrkan Church

Dragonens Idrotts- och M Sports and Conventio

Backens kyrka Church

Ordens Or

Ögon

Hamn Yout

Tegsbiblioteket ke Library

Böleängskyrkan Church

500 - 5000

620 association

in Umea 500 - 1000

122 association with more than 50 members

50- 500

number of member

Ersboda Skatelokal Indoo k Indoor Skate Park

Musik- & Danshuset Adult Education Kedjans aktivitetscentrum Youth Centre

Ersbodabiblioteket Library

Mariakyrkan Chur Church

Mari Mariehemsbiblioteket Lib Library

gårdsskolan h School for Music, Dance, atre and Media

Verket Music Venue

Stallet Music Studios Profilteatern Theatre

Mässcentrum on Centre

Tantteatern Theatre NorrlandsOperan Opera House

shusett

nblicksteatern

Ersboda Folkets Hus Ersbodakyrkan Church

City Library Sagateatern Theatre

nmagasinet th Centre

Folkets Bio Cinema

Västerbottens Museum Regional Museum

Balettakademien en an Studios os s Dance D Umeå Folkets lk Hus Galleri Verkligheten Art Gallery

Kulturväven väv Umeå Stadss Kyrka Kyrk Ky Church

Bokcafé B o Pilgatan ook oo k Shop Sho and d Cafeteria Cafe Boo B Book

NBV N BV Musikhuset M M Music Studios Bildmuseet B eett m of Modern Mode Art Museum Tegskyrkan Church

Aula Nordica Auditorium iksu Sport center

Galleri Alva Art Gallery

Ålidhemskyrkan Church Kl Klossen Culture House Hou

Ålidhemsbiblioteket Library

Fabriken Sensus Adult Education Fabriken Party Venue

My cultural network : Taking part of a local organization Murhaf Fanous palestinian /syrian artist

p an wa

Murhaf an artist who join our street theater inside Utopia by improvised performance , was playing for movie premiere . By bying a ticket you will get food for free .At the same time , listening to famous arabs songs the aim was to share part of arabs culture

Jo U d

Arab film festival :

on 29.01.2015 i have been invited to the premiere projection of n arab movie when i as meeting the manager of sagatheater onas and janette from Umea dance school to discuss whatâ&#x20AC;&#x2122;s happe-

Nora tabbouche /french teacher

ing around saga issue

SHARING / intracting / Carring

Jonas Nimrodsson /sagaâ&#x20AC;&#x2122;s manager

Farah and nabila Roukachi /Mama Africa

How ?

Nora tabbouche /french teacher

Jonas Nimrodsson /sagaâ&#x20AC;&#x2122;s manager

Farah / nabila Roukachi /Mama Africa

whe

internat gymn /institu

sagath /instit

festl esbo /neighb faci

ere ?

tionella nasiet ution

heater tution

lokal orda berhood ility

Event ?

Nora invited me to the event that she organized sprakolympiadan itâ&#x20AC;&#x2122;s high school competition on different languages, obeside its participants the event is a cultural sharing through language It is a meeting poitn for people with different native languages

Sharing

Carring

Community

Jonas invited me to an event organized by a group of musicians who wanted to play for the last time in sagateater, as He trieD to help local cultura organizations,he delegated the task to sell and prepare fika to Prei kulturcentrum , It's an opportunity for them to interact with swedish society , but also earn some money

Nabila invited me with Nora to a party she organised for a member of the cultural organization Mama Africa , an African Partywhere even the dj would come from sundsvall to play african music.what a pity such activities remains closed to a certain community, to book the local you need to know someone from the district and for joining you have to know one of the guests

Mama Africa

Mama Africa was started at year 2010 in Ume책, Working active to unite Africa's multi cultures and knowledge to Swedish society. works to establish bridges cultures and contributes to spreading knowledge

Shar

Mama Africa is for all nationalities. Mama Africa is non-political and religious association

Farah Roukachi / student Mona Roukachi / professionnal singer Cynthia Etika / professionnal singer

it works to establish bridges cultures and contributes to spreading knowledge to and about Swedish society. Mama Africa shows itself through dance, cultural celebration, lectures, conferences, courses, awareness act. It was one of the organizations that participated in kulturnatta by African dance but also a fashion show

Learin

Community Sens

Producing

Social interactions

ring

IKF

meeting

shar

Mama Africa

100

International Association of women (IKF)began in 1988 and ran various projects, both national and international. The last project was a project of mentoring for academic immigrants. The association meets all women without distinction of nationality and is composed of individuals. The association was founded in 1988 and has about. 75 members from 36 different nationalities from four continents.

knowle

Community Sens

ring

Then eventually they book local in neighberhood area depending on their contacts and availibility. Sometimes you need to pay a fee to get access Monia choul is an active member in Mama africa and resident of a district of alidhem .She is also part of neighborhood council ., so it led me to seek what spaces and what activities are they sharing at the level of neighborhoods council

collaborating

edge

My first meeting with Mama Africa was 8 of march , after a long talk that i had with Farah Roukachi in kultur Vaven concerning the organisation . she invited me to join their conferance day for Woman international day , as itâ&#x20AC;&#x2122;s member of IKF .Mama africa can have acces to medborgarskolan but their cultural practices usually occur also outside the opening hours of these premises.

Producing

101

Marroco inspiration day

particip

The initial idea was to invite singers from Morocco to perform, then the idea was developed by the fact of sharing other aspects of culture itâ&#x20AC;&#x2122;s somehow a way ato attract passers-by and raise their curiosity to come and ask about the association and its activities , since kulturnatta does not exist anymore , the event is opportunity to mark the visibility of Mamaâ&#x20AC;&#x2122;s africa work

it was also an event where members of mama africa and their friends participated in the organization of the event .A sort of collaboration and at the same time a collective pedagogies of shared knwoledge . By adding such activities , the event space becomes a place of socialization

102

sharing kno

patory

Social interactions

owledge

Community Sens

Performing

103

Making the invisible visible : neighborhood communities and their activities How to start a neighbourhood counsil in Bostaden Area ? 1. Gather at least two neighbours who are interested in taking part. 2. Find an accountant. 3. Contact your area landlord and book a meeting where you form a board for the counsil. 4. Contact Bostaden to get your money. A normal sized area can get up to SEK 15 000 every year. 5. The area landlord will be there to help you if you have questions. The area landlord will be able to help you if you have concerns or questions. Once you have a board for your counsil you will immediately get a contribution of SEK 1000 to help you get started and to buy such things as office supplies and coffee for your meetings. Apart from the starting contribution of SEK 1000 you also get SEK 25 for each apartment. For an average area that is approximately SEK 5000. The amount of money you can get from the other account is SEK 1.50 per square metre living area. That is approximately SEK 5000 to 10 000 a year depending on the area.

104

How shall the money be used? The money from the first account is intended to be used in order to make the area and the living in the area nicer. How to spend half of the money from the other account is decided by the neighbourhood cousil together with the area landlord. It might be improvements of the yard or other common spaces or some activity to strengthen the spirit between neighbours in the area. Bostaden decide on how to use the rest of the money from the second account. The reason is to make sure that the money is spent in the same way in different areas. Bostaden : ÂŤWe want more neighbourhood counsils so start one right away! It is a chance to make the area better, more pleasant, more beautiful or more funÂť The following map includes some examples of the activities of neighborhood counsil bostaden lists 40 but only 8 submit a web site to share their activities and information

105

Kvartersrådet Grannen, Ålidhem

Kvartersrådet Klintvägen, Tunnelbacken

Kvartersrådet Höken/Mården, Öst på stan

Sauna

Kvartersrådet Smörbyttan, östra Ersboda (södra och norra Slevgränd)

Art act

Kvartersrådet Prästosten 2, västra Ersboda (Ystarvägen 135-149)

garden

Kvartersrådet Osten, västra Ersboda (Ostkroken)

Movies

Kvartersrådet Karet 4, östra Ersboda (Spanngränd)

educati

Kvartersrådet Karet 5 och 6, östra Ersboda (Hinkgränd, Krukgränd och Mjölkvägen)

Kvartersrådet :

106

meetin

neighborhood Council

Barbec

6 5 7

1 2

ngs Music

tivities

ning

Swing Workshops

projection

ional activities

cue

Common life of neighborhood communities 107

Fysikgrän Historiegränd

Fysikgränd

Laboratorvä

Laboratorvägen

Kemig

Kemigränd Socionomsträket Asistentvägen

Biologigräand

Asistentvägen

Geografigränd

Ålidhem neighborhood Bostaden

HSB

Riksbyggen

Enkelrum: 1965 1:or: 302 2:or: 784 3:or: 589 4:or: 240 5:or: 89

283 bostadsrätter 67 rental flats

235 bostadsrätter

TOTAL: 3969 flats

TOTAL: 350 flats

gränd

bike plats

neighbordhood counsil

Stipendiegränd

Amanuensvägen

Sauna

L g

gym ping pong

neighborhood council

meeting room

Odontologstråket Historiegränd

Bostaden Enkelrum: 1965 1:or: 302 2:or: 784 3:or: 589 4:or: 240 5:or: 89

entvägen

Matematikgränd

bike paths

Docentvägen

Examensvägen

Shared common facilities of neig

Elvgränd

situation plan

TOTAL: 3969 flats

HSB 283 bostadsrätter 67 rental flats TOTAL: 350 flats

anuensvägen

Riksbyggen 235 bostadsrätter

108

storage space

meeting rooms

shelters

place for bicycles

staircase

garbage rooms

technical space

laundry

Ground floor plan scale 1/500

Historiegränd

ägen

gränd Socionomsträket Biologigräand Bostaden Enkelrum: 1965 1:or: 302 2:or: 784 3:or: 589 4:or: 240 5:or: 89

Asistentvägen

Geografigränd

ghberhood counsil grannen Elvgränd

Laundry green room

Matematikgränd

Work out room

hobby room

Amanuensvägen

Sauna

TOTAL: 3969 flats

Program proposal

HSB

gym

Laundry green room

ping pong 283 bostadsrätter Work out room 67 rental flats hobby room neighborhood

Room for hand craft work Theatre /Dance /performance space

meeting room

TOTAL: 350 flats

Riksbyggen 235 bostadsrätter

Grannen is neighberhood counsil located in Alidhem .Residents of this neighberhood share differents common spaces located at ground floor .Unfrotunatly such facilities are reserved and open only for residents

109

Share place

Neighborhood councils 1/ Bike plats

reuse some spaces by a allows the interaction o residents of th Bostaden

Enkelrum: 1965 1:or: 302 2:or: 784 3:or: 589 4:or: 240 5:or: 89

Current situation New outdooor bike plats Indoor bike plats

Bostaden has endowed the area by new structures for bikes and garbage room thus emptying the original placeholder

TOTAL: 3969 flats

HSB

ikgr채nd

283 bostadsr채tter 67 rental flats

Opening up

TOTAL: 350 flats

gen

Sets of actions

110

Riksbyggen

Extrude

235 bostadsr채tter

ed es

2/ old garbage room

local associations

creates new public access providing access to facilities by reusing garbage rooms displaced by bostaden to new structure

Reuse loose spaces for publicLaboratorvägen utility by making the ground floor a place dedicated to the city and its inhabitants Kemigränd

Socionomsträket Biologigräand

a new program that of associations and he district

3/Tunnel

mark the access to the district through an urban passage that link the Geografigränd Interior of the Elvgrän neighborhood to main street

Asistentvä

Mate

Dig

Displace

Amanuen

Extrude

Reuse

111

(1) open up corner

(4) new public entrances to existing program

(2) new storage for

112

openning the space to the street and therefore to the public, by marking the public entries to the shared premises but also accessibility to these places by a wall signage or streetsignage it also allows to create a co-existence between associations and residents of the district.

(3) passage marqued by new public entrances

outdoor activities

113

Ruturning to the roots : An alteternative way of imagining a cultural life in the city

smaller scale of Neighborhood communities

Neighborhood communities Network connectors : Royal theatre /kulturhus/gymnasium /abondon building ... emergence of new neighborhood communities network connectors : Royal theatre /kulturhus/gymnasium /abondon building ... linking flows through cultural associatons of the city Proliferation

Urban rhizome of cultural life through com 114

mmunities

Example on what could be my connectors

Kulturhus as Art Gallery , workshop for Art works Gymnasium as local food market , where you will sell neighberhood food production Royal as theater and dance school , meeting point of amateurs and professionals

Emerging local for festivities

Abondon building reconverted as women house

115

where the community creates ÂŤ area of the creationÂť

producing

Sharing

learning

hand craft work Theatre / perfomance Danse

Cooking

gardening

Small improvised rooms used to host educational activities Art and craft room for art therapy and creative learning Swing

116

Cinema and photography

Residents taking ownership of their environment

Developping The capacity of negotiating an building alliances

Regain Abandoned building

Historic building restored

promote a culture of sharing

generate social interactions beside social media Temporary structures support for festival

117

The basement is not an art gallery, or a cultural space. It is a concept of shared space that regularly offers the neighborhodd the possibility to co-exist with the cultural sphere (associations) in its the most various forms (exhibitions, installations, workshops, etc.).

Place that wants to be a â&#x20AC;&#x2DC;neutral spaceâ&#x20AC;&#x2122; beyond the professional and personal, Where residents and associations exchange knowledge

Esborda

Ăśstra norrlandsgatan

Vasaplan Royal theater as place of coexistance for amateur and professional (musicians , dancers , performers ..)

118

a place where creative thinking is going to be able to break free cultural reflection build and share a common approach to culture; While it is more and more present in all aspects of social life

Mariberg

go toward others in the perspective of an alliance and the construction of a micro- territoriality that will be subsequently shared with others, by the new ramifications

Alidhem

festlokal as common for associations and local residents .The common is not a subjectification of a set, but the construction of a network of living together preserving the differences of each.

119

The community and social of the creative city vision is less ideological coherence than the liberal version of the city as a breeding ground for creative capitalism. Itâ&#x20AC;&#x2122;s more noticeable trends in the speech, a political and urban utopia somehow. i wanted to propose a vision of the city, around the notions of partnership, cultural diversity, participatory, Democracy , social and institutional experimentations. Imagine modes of relationship between Umea residents and differents associations under various policies: urban planning, citizen participation, economic development, etc. How can associations contribute to a knowledge-based society and the vitality of cultural life ? It comes here to create connections and transversal links to dialogue, to share, to meet and allow everyone to adapt according to its local anchoring the knowledge and know-how to other locations . Common: the common is neither order the private nor the public agenda, but a weaving of the contradictory, a construction of a collective that does not clear itself individualities, but holds them together. It invites the sharing and the meeting. The common is not a subjectification of a set, but the construction of a network of living together preserving the differences of each. itâ&#x20AC;&#x2122;s going toward others in the perspective of an alliance and the construction of a micro- territoriality that will be subsequently shared with others, by the new ramifications 120

Place that wants to be a â&#x20AC;&#x2DC;neutral spaceâ&#x20AC;&#x2122; beyond the professional and personal, a place where creative thinking is going to be able to break free cultural reflection - build and share a common approach to culture; While it is more and more present in all aspects of social life. as sharing district premises to divert to the fusion of two worlds: culture and district. itâ&#x20AC;&#x2122;s not an art gallery, or a cultural space. It is a concept of shared space that regularly offers the district to co-exist with the cultural sphere in its the most various forms (exhibitions, installations, workshops, readings, etc.). somehow oppening our living space by allowing new cultural experiences, that will allow associations to present happenings, meetings and work adapting to the constraints of the place and its everyday use. Associations can also benefit from spaces of Exchange and work, as residents of the district will continue their activities alongside and in the same place. In order to share these places no financial contribution is required.. The innovative nature of the proposed cultural project is the desire of diversion of the place by associations . The basement (or ground floor) is a laboratory of reflection on the impact of cultural actions on the district , its development on a daily basis.

121

Conclusion We are living a moment of revaluation of cultural practices and redefinition of the role of culture in the society, which is still facing a number of crises: economic, social, political and environmental. The «globalization» has shown its negative effects and the ‘local’ seems become to be one of the tags in the way towards the future management. The economic cultural discourse includes the consideration of culture as a public good and the promotion of economic impact of culture .on the other hand the social cultural discourse includes the spread of accessibility as well as the preservation of cultural rights. by investigating existing practices and initiatives came the idea of setting up connections and networks of production and dissemination tried to literally ‘make a rhizome ’, It is this micro-territoriality that i wanted to discover when i started joining local association that had in common a way of questioning stereotypes and promoting authentic values anchored in the community . a number of meetings which engaged directly with the city residents, followed as moments of collaborative experimentation, fabrication and critical reflection. it came this necessity of creating new types of organizations or institutions that can stimulate the idea of common knowledge production and dissemination trough existing spaces.

122

Bibliography -The expediency of culture : uses of culture in the global era / George Yúdice/2003 -Is there (anti-)neoliberal architecture? / Ana Jeinić, Anselm Wagner/2013 -Sense of the city : an alternate approach to urbanism / edited by Mirko Zardini ; with essays by Wol /2005 -Loose space : possibility and diversity in urban life / ed. by Karen A. Franck and Quentin Stevens/2006 -What is critical spatial practice? / Nikolaus Hirsch and Markus Miessen (eds.) ; [Featuring artwork/2012 NETWORKED CULTURES /parallel architecture and politics of space / Editors: Peter Mörtenböck and Helge Mooshammer Gehl, Jan, 1936/2013 -http://www.urbantactics.org/homef.html# -http://www.gurteen.com/gurteen/gurteen.nsf/id/ksculture -http://www.laviedesidees.fr/La-classe-creative-au-secoursdes.html -http://metropoles.revues.org/4339 -http://www.bostaden.umea.se/hyresgast/sa-fungerar-det/ kvartersrad -http://fr.slideshare.net/UmeaKommun/slideshow-aboutume-44728363 -http://www.mythe-imaginaire-societe.fr/?p=4352 -http://www.gorans-sida.se/31787922

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-http://www.jstor.org/discover/10.2307/2083243?sid=211054112 30071&uid=3738984&uid=2&uid=4 -http://www.vk.se/790948/det-hander-under-kulturaret -http://espacepolitique.revues.org/1314 -http://umea2014.blogg.se/category/emma-swanstrom.html -http://www.svd.se/kultur/kulturen-bygger-om-umea-for-miljarder_6746241.svd -http://www.dn.se/kultur-noje/musik/annika-norlin-det-har-armitt-umea/ - h t t p : //www. ku l t u r ra d e t . s e /sv/ve r k s a m h e t / F i n a n s i e ring-av-kultur/Umea-2014-arbetar-med-breddad-finansiering/ -http://www.umeakolonitradgard.se/UKTF/Valkommen.html http://www.oxfordbibliographies.com/view/document/obo9780199756384/obo-9780199756384-0074.xml -www.utoopics.com/2011/06/la-ville-creative-marketing-urbain-ou-modele-economique/ -http://www.vk.se/1426156/ointresse-fran-umea-kommun?mobil -http://www.bildmuseet.umu.se/en/exhibition/communitas/7699 - h t t p : //s v.w i k i p e d i a . o r g / w i k i / W i k i p e d i a : P r o j e k t _ Ume%C3%A5_2014_%E2%80%93_Europas_kulturhuvudstad -http://www.kvartersradet-grannen.se/

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Notes

125

126

127

128