59 research outputs found
Camilo Rebelo. PARALLEL UNIVERSES
No full textThe volume, edited by the undersigned, is the catalogue of an exhibition made in Politecnico of Milano on the works by Camilo Rebelo, one of the most significant architectural figures in the European panorama.
Without any linguistic emphasis, Camilo Rebelo's architecture seems to return a new interpretation of architecture, which knows how to draw from the landscape its representativeness and at the same time its materiality, being able to return to the landscape itself, through a silent language, each time a new meaning, a new identity, a 'difference'.
The images of the exhibition are not intended to be just the materialization of these words, but the compositional expressions of an ever-evolving thought, which precisely through the parallel Universes of architecture (dre-amed, designed, built), sequentially reveals its own narrative dimension.
The projects collected in the catalogue reflect a dual conceptual and operational itinerary of the author: some works have actually been built and become the tangible result of his work, others remain 'suspended', almost waiting for an appropriate 'parallel universe' to be completed
Players and arenas: strategic interactionism in social movements studies
No full textThis ‘Authors Meet Critics’ symposium focuses on two books edited by Jan Willem Duyvendak and James M. Jasper, Players and Arenas: The Interactive Dynamics of Protest and Breaking Down the State: Protestors Engaged. Both books make bold attempts to develop and apply a strategic interactionist perspective in social movement studies by focusing on the interplay of micro and macro processes and decision-making in a range of protest movements. Critical interventions from Aidan McGarry, Robert J. Davidson and Guya Accornero raise a number of questions relating to the core arguments of the books, the key findings and the conceptual advances. Duyvendak and Jasper then address these challenges by drawing attention more acutely to the role of agency in social movements and highlighting significant critiques of the current state of the art in social movement scholarship
Players and arenas: strategic interactionism in social movements studies
No full textThis ‘Authors Meet Critics’ symposium focuses on two books edited by Jan Willem Duyvendak and James M. Jasper, Players and Arenas: The Interactive Dynamics of Protest and Breaking Down the State: Protestors Engaged. Both books make bold attempts to develop and apply a strategic interactionist perspective in social movement studies by focusing on the interplay of micro and macro processes and decision-making in a range of protest movements. Critical interventions from Aidan McGarry, Robert J. Davidson and Guya Accornero raise a number of questions relating to the core arguments of the books, the key findings and the conceptual advances. Duyvendak and Jasper then address these challenges by drawing attention more acutely to the role of agency in social movements and highlighting significant critiques of the current state of the art in social movement scholarship
Players and arenas: strategic interactionism in social movements studies
No full textThis ‘Authors Meet Critics’ symposium focuses on two books edited by Jan Willem Duyvendak and James M. Jasper, Players and Arenas: The Interactive Dynamics of Protest and Breaking Down the State: Protestors Engaged. Both books make bold attempts to develop and apply a strategic interactionist perspective in social movement studies by focusing on the interplay of micro and macro processes and decision-making in a range of protest movements. Critical interventions from Aidan McGarry, Robert J. Davidson and Guya Accornero raise a number of questions relating to the core arguments of the books, the key findings and the conceptual advances. Duyvendak and Jasper then address these challenges by drawing attention more acutely to the role of agency in social movements and highlighting significant critiques of the current state of the art in social movement scholarship.info:eu-repo/semantics/publishedVersio
Spazi pubblici e luoghi condivisi. Progetti architettonici per le città europee
No full textSotto la responsabilità intellettuale e supervisione diretta dell'autore, il volume raccoglie i contributi scritti dai relatori che hanno partecipato al ciclo di conferenze Spazi pubblici e luoghi condivisi. Progetti architettonici per le città europee, ideato da Guya Bertelli e coordinato dal sottoscritto. Il symposium è stato promosso dal Dipartimento di Architettura e Studi Urbani (DAStU) e le conferenze hanno avuto luogo, tra il 2012 e il 2013, presso la sede centrale del Politecnico di Milano e presso il Campus Arata del Polo Territoriale di Piacenza.
Le quattro giornate di studio sono state organizzate in modo tale che il dibattito prendesse in esame, nell’ambito della stessa giornata, una coppia di città europee, rendendo possibile un fertile confronto. I contributi dei relatori - Enric Massip Bosh e Carlos Garcia Vazquez; Hervé Dubois e Gill Novarina; Stefan Vieths e Michele Giovanni Caja; Francisco Arqués Soler e Maria Vittoria
Capitanucci - sono articolati in quattro diversi capitoli. Ciascun capitolo presenta gli interventi della relativa giornata di studio ed è aperto da un’introduzione, e seguito da una conclusione a firma del coordinatore della giornata. I quattro capitoli sono inoltre preceduti da un’introduzione di Gabriele Pasqui e dai saggi di Guya Bertelli, Michele Roda e del sottoscritto che riflettono, attraverso uno sguardo critico, sul ruolo e sul significato dello spazio pubblico nella città contemporanea.Under the intellectual responsibility and direct supervision of the author, the publication collects contributions by the lecturers in the series of conference Public spaces and shared places. Architectural projects for the European cities created by Guya Bertelli and coordinated by Pasquale Mei. The symposium was sponsored by the Department of Architecture and Urban studies (DAStU) and the conferences have been organized in 2012 and 2013 at Politecnico di Milano, Campus Leonardo, and at Arata Campus, in the Territorial Campus of Piacenza. The debates were part of the four working days; each one was dedicated to an interesting comparison between two European cities. The contributions of the lecturers - Enric Massip Bosh and Carlos Garcia Vazquez; Hervé Dubois and Gill Novarina; Stefan Vieths and Michele Giovanni Caja; Arqués Francisco Soler and Maria Vittoria Capitanucci - are divided into four different chapters. Each chapter presents the intervention of a specific day and is opened by the introduction, and followed by a conclusion by the coordinator of the same day. The four chapters are introduced by a forward by Gabriele Pasqui and essays by Guya Bertelli, Michele Roda and Pasquale Mei, reflecting a critical view on the role and the meaning of the public space in the contemporary city
The phenomenon of spontaneity in urban city realm. Recognition, understanding and interpretations
No full textLa spontaneità è un termine che ha molteplici significati all'interno degli studi architettonici ed urbani.
Il significato della spontaneità in architettura è più riconosciuto come una condizione di scarsità, disordine urbano, povertà ecc (MacDonald, 1978). Tuttavia, non si possono trascurare anche gli altri significati di questo comportamento. Infatti, anche le strutture pianificate sono oggetto di trasformazioni per quanto riguarda la loro disposizione, l'aspetto, l'organizzazione e il loro adattamento alle condizioni socio-politiche, che possono essere interpretati come svolgimenti spontanei. Pertanto, si riscontra una evidente necessità di indagare scientificamente il significato,più precisamente il significato di questo fenomeno per quanto riguarda il campo architettonico e urbano.
A causa del fatto che la gamma della spontaneità architettonica è molto ampia, e che coivolge una vasta area di interesse, questo studio vuol approfondire la spontaneità che si ossserva all’interno della città contemporanea. Pertanto, il fenomeno spontaneo è analizzato nelle diverse scale architettoniche e urbane, a cominciare da quello che coinvolge la regione metropolitana della città, fino alla scala delle piccole unità architettoniche. Quindi, il riconoscimento di spontaneità come fenomeno urbano può essere diviso in due sezioni. La prima, che coinvolge l'architettura 'informale', cioè un’architettura 'non-legale' in senso burocratico (Rao, 2010), o un'architettura sviluppata senza progetto ufficialmente riconosciuto (Clemente, 2005) di cui gli esempi più noti possono essere gli insediamenti di comunità nomadi, faglie urbane, slum, ecc. E la seconda, i fenomeni 'formali', che possono essere interpretati come atti spontanei. Questa sezione comprende le tracce storiche nel tessuto della città come architettura senza architetti (Rudofsky, 1964), le trasformazioni sulle unità "formali", e l'ultimo fenomeno delle tipologie atopiche (Gregotti, 1990) a causa della complessità del territorio contemporaneo.
Oltre lo stereotipo della spontaneità come non-formale, esiste una considerazione di un altro stereotipo della spontaneità in architettura: la negazione del progetto o non-pianificata. Quindi, se consideriamo la spontaneità come una generazione dei componenti architettonici, allora dobbiamo osservare le definizioni e le interpretazioni che riguardano il progetto architettonico. Pertanto, se si considera il progetto come un'atto che progetta la forma e la funzione, la instabilità in questa trasformazione (Gregotti, 1987) dalla previsione alla predizione della forma, sottolinea gli aspetti della spontaneità presente nel processo della progettazione.
Nella grande scala questi aspetti possono essere riconosciuti in varie fasi storiche dello sviluppo urbano. Dagli routine antichi della formazione delle città che seguono regole adatte al contesto particolare (Koolhaas, Boeri, Kwinter, Tazi, e Obrist, 2000), passando per la città medioevale costituita da una struttura definita e compatta con i margini trascurate e vaghe (Sennett, 2007), fino ad arrivare all'area metropolitana contemporanea e la sua complessità (Secchi, 1991) generata a causa delle condizioni socio-economiche e politiche (Harvey, 1990). Inoltre, aspetti molto interessanti della spontaneità possono essere osservati nei modelli delle città in periodo dell'architettura moderna. Mentre i modernisti hanno considerato che l'architettura moderna è una rottura nella timeline della storia classica (Eisenman, 1984), i progetti ed i modelli delle città, tuttavia, continuano trascurare gli aspetti della spontaneità, poi rigorosamente discussi dalla critica postmoderna. Pertanto, qui riconosciamo due modelli estremi. Primo, il modello utopico che trascura completamente la spontaneità e proporre un progetto come idea 'nuda' architettonica, e la seconda che è una composizione 'stage' (Habermas, 1982) come la spontaneità progettata o 'falsa'. Il più significativo capovolgimento nella riconoscenza del carattere spontaneo della città viene discusso al CIAM VIII, intitolato "Il cuore della città". La spontaneità è sottolineata come un carattere positivo del campo urbano (Giedion, 1954), e in contrasto con la città storica oggi caratterizza non solo la periferia, ma anche il centro delle città (Rogers, 1952). Pertanto, portando i geni urbani, la spontaneità viene proposta come una dimensione incommensurabile e valore inestimabile che ritraggono le città.
Infine, ci troviamo di fronte alle sfide dello sviluppo della città contemporanea e del suo contesto spontaneo. Quindi, uno dei temi più impegnativi dello sviluppo della città contemporanea è la questione dello sviluppo dei suoi frammenti spontanei. Se i "progetti della scala piccola” principalmente risolvono le necessità infrastrutturali e tecniche di tali aree, loro ancora appaiono come isole urbane condannati per il loro sviluppo separato, staccato dalla città (Groth e Corijn, 2005). Quindi, la tesi propone metodologie e principi che trattano lo sviluppo delle aree spontanee, e sottolineare l'importanza del coinvolgimento delle diverse scale per il loro sviluppo. In questo senso, siamo in grado di formulare le domande che non si occupano solo con le necessità degli abitanti delle zone spontanee, ma anche i problemi della città relative a questo fenomeno.
RIFERIMENTI
Clemente, M. (2005). Estetica delle periferie urbane : analisi semantica dei linguaggi dell’architettura spontanea. Roma: Officina.
Conde, L. P., & Magalhães, S. (2004). Favela-Bairro : rewriting the history of Rio. [Rio de Janeiro]: ViverCidades.
Eisenman, P. (1984). The End of the Classical: The End of the Beginning, the End of the End. Perspecta, 21, 154-173.
Giedion, S. (1954). Descrizione del cuore: sommario del’ottavo congresso del CIAM Il Cuore della città: per una vita più umana delle comunità, The heart of the city: towards the humanisation of urban life (pp. xii, 185 p.). Milano: Hoepli editore.
Gregotti, V. (1987). Previsions, predictions. Casabella, 533.
Gregotti, V. (1990). Atpoic typologies; Tipologie atopiche. Casabella, 568.
Groth, J., & Corijn, E. (2005). Reclaiming Urbanity: Indeterminate spaces, informal actors and urban agenda setting. Urban Studies, 42(3).
Habermas, J. (1982). “Modern and postmodern architecture” (H. Tsoskounglou, Trans.) Rethinking architecture : a reader in cultural theory. London ; New York: Routledge.
Harvey, D. (1990). The condition of postmodernity : an enquiry into the origins of cultural change. Oxford: Blackwell.
Koolhaas, R., Boeri, S., Kwinter, S., Tazi, N., & Obrist, H.-U. (2000). Mutations : Harvard Project on the City., . Bordeaux, France: ACTAR ; Arc en reve centre d’architecture.
MacDonald, L. (1978). Spontaneous Urban Settlements. Habitat Intl., 3(1/2).
Rao, V. (2010). Slum as a theory. Lotus, 143.
Rogers, E. N. (1952). Il Cuore: problema umano della città CIAM 8. Il cuore della città: per une vita più umana della comunità. Milano: Hoepli.
Rudofsky, B. (1964). Architecture without architects, an introduction to nonpedigreed architecture. New York,: Museum of Modern Art; distributed by Doubleday, Garden City.
Secchi, B. (1991). The peryphery. Casabella, 583.
Sennett, R. (2007). Open City The endless city : the urban age project by the London School of Economics and Deutsche Bank’s Alfred Herrhausen Society. London: Phaidon.Spontaneity is a term which has wide range of meanings and significations in an architectural and urban context. The meaning of the spontaneous in architecture is mostly recognized as the condition of material scarcity, urban disorder, poorness etc (MacDonald, 1978). Nevertheless, one cannot overlook the other significances related to this behaviour. In fact, even the carefully planned structures are subjects of transformations with regard to their arrangement, appearance, organization as well as their accommodation to the socio-political conditions, which can be interpreted as spontaneous performances. Therefore, there is an evident necessity to scientifically position the meaning, and to determine the significance of this phenomenon more precisely when it regards the architectural and urban realm.
Due to the fact that the range of architectural spontaneities is very wide, and it involves a very large area of interest, this study focuses on the ‘spontaneous’ as a phenomenon appearing in the contemporary city. Therefore, the spontaneous phenomenon is recognized concerning various architectural and urban scales, from the one which involves the city metropolitan region to the scale of the small architectural units and the perceptual scope of the human. Hence, the recognition of spontaneity as an urban phenomenon can be divided in two sections. The first, which involves ‘informal’ architecture, meaning ‘not-legal’ architecture in the bureaucratic sense (Rao, 2010), or architecture developed without officially recognized project (Clemente, 2005) as nomad settlements, urban cracks, slums, etc. And the second, ‘formal’ architectural and urban phenomenon which can also be interpreted as spontaneous acts. This section involves the historical traces in the city fabric as unsigned architecture (Rudofsky, 1964), transformations emerging at the ‘formal’ units, and the latest phenomenon of placeless architecture (Gregotti, 1990) as a result of the contemporary urban complexity.
Apart from the stereotype of the spontaneous as not-formal, there is a consideration of another stereotype of the spontaneous in architecture understood as the negation of the project or un-planned, un-regulated, etc. Thus, if by the spontaneous we mean unplanned birth or generation of the architectural constituents, then we have to observe the definitions and interpretations which regard the architectural project. Therefore, if we consider the project as a feature which previsions the form and function, the notion of the instability in this transformation (Gregotti, 1987) of the prevision to the prediction of reality underlines the aspects of the spontaneity present in the process of the project as well. On a large scale these aspects can be recognized in various historical phases of the city development. From the ancient routines of the formation of the cities which follow applicable rules accommodated to the particular context (Koolhaas, Boeri, Kwinter, Tazi, & Obrist, 2000), through the medieval city of defined and compact structure and neglected vague margins (Sennett, 2007), to the contemporary metropolitan area and its complexity (Secchi, 1991) due to the socio-economic and political circumstances (Harvey, 1990). In addition, very interesting aspects of spontaneity can be observed in the city models from the period of modern architecture. While the modernist considered that the modern architecture is a rupture in the classical historical timeline (Eisenman, 1984), the projects and the city models nevertheless continue the disregarded aspects of spontaneity, later rigorously debated by the postmodern critic. Therefore, here we recognize two exaggerated models. The first one, the utopian model which completely overlooks the spontaneity and propose a project as a ‘naked’ architectural idea, and the second which is a ‘stage’ composition (Habermas, 1982) as a designed or ‘fake’ spontaneity.
The most significant overturn in the understanding of the spontaneous character of the city happen at the VIII CIAM, accordingly entitled “The Heart of the City”. Spontaneity is emphasized as a positive feature of the urban realm (Giedion, 1954), and contrary to the historical city today it characterizes not only the periphery but also the city core (Rogers, 1952). Therefore, carrying the urban historical genes, spontaneity represents the immeasurable dimension and inestimable value which portray each city.
Finally, as a conclusion of the theoretical determination of spontaneities, we face the challenges of the development of the contemporary city and its spontaneous context. Hence, one of the most challenging subjects of the development of the contemporary city is the question of the development of its spontaneous fragments. If the ‘small scale projects’ mainly solve the infrastructural and technical necessities of such areas, they still appear as isolated urban islands condemned to their separate development detached from the city (Groth & Corijn, 2005). This study therefore proposes methodologies and principles which treat the development of the spontaneous areas and emphasize the importance of the involvement of different scales for the development and the design of those areas. In this sense, we can formulate the questions not dealing only with the necessities of the inhabitants of the spontaneous areas, but also the problems of the city related to this phenomenon.
METHODOLOGY
The thesis is structured in two general parts comprising the theoretical research regarding the phenomenon in question, and the case study projects as a verification of the proposed methodologies and principles for development of the spontaneous areas. The introduction chapter focuses on the definition of the term ‘spontaneity’. For that reason, it is necessary to take into consideration other sciences such as physics, sociology, literature and art, where this phenomenon has been more profoundly studied, in order to create correspondence with the architectural context of the phenomenon. Therefore, spontaneity at this point is defined as behaviour which is characterized by local instability, as a voluntary action of a particle, which has globally recognizable form. The next section deals with the recognition of the previously defined phenomenon, and thus outlines the limits of the research. Accordingly, the spontaneous processes in architecture are studied and recognized as figures which have certain recognizable characteristics (Conde & Magalhães, 2004). Two important figures emerge, one of the well-known ‘informal’ character recognized mostly by its scarce condition, and the other, more complex figures of the ‘formal’ character, which are recognized as ‘formalized informal’ or further as a complexity of voluntary ‘formal’ performances . Finally, in the subsequent section various interpretations of the spontaneous city are introduced, which however correspond with the argument of the thesis. Therefore, spontaneity is interpreted as a positive architectural feature which carries the genetic material of the settlement and contributes to the human character of the cities. Hence, spontaneity is considered to be an architectural value which can be used as a source and also as a tool to design.
FINDINGS
To respond to the challenge of the development of those areas and to recognize their potentials, there is a necessity to propose methodologies and principles suitable for such environments. Taking into consideration the theoretical study present in the first part, four principles for development of the spontaneous areas are presented, which build a background for the methodology which involves the ‘large’ urban scale. Therefore, if the methodologies of the small scale develop the spontaneous areas as urban islands inside the city fabric, the large scale methodology at this point performs a development of such areas together with the city as a whole. Thus, the zooming out method is presented as an approach which anticipates the understanding of the large scale context of the city, its morphology, historical development, the importance of its palimpsest layers, etc. The first principle of this method is represented by the reinforcement of the basic infrastructure of the settlement, which improves the typical scarce infrastructural condition of such areas, and furthermore offers possibilities to develop new technologies. The second principle involves creating new networks, as a performance which encompasses the area in the wider context of the city as well as within the neighbourhoods in the vicinity. The third principle, development of the margins deals with the issue of the morphological discontinuity of the margins of the spontaneous areas within the city. And finally, the forth principle highlights the importance of the innovative methods for the extension of the public and collective spaces, as a tool to create and develop new public spaces.
Those principles are verified in four case study projects involving the city of Skopje, as their current condition coincides with the phenomenon previously defined as spontaneous fragments, or ‘bottom-up’ fabrics located in-between the ‘top-down’ structures. Apart from the fact that in each project those principles interlace, each of them has been emphasized in a separate case to point the particular idea. Therefore, the first area of ‘Novo maalo’ develops the street as a project, interpreting the figure of the street as a source for the development. The second area of ‘Madzir maalo’ emphasizes setting a new network of the ‘acupuncture’ points, developing not just the structural condition of the settlement, but also its performance considering the larger scale of the city. The third case of ‘Krnjevo’ is based on the hypothesis that development of the margin implies the development of the settlement. Therefore, the development of the settlement is achieved by taking over its margins, and by overtaking the lost relations within the urban realm. Finally, one of the larger city slums, the case of ‘Topaana’, emphasizes the idea of rethinking the public and private un-built spaces of a settlement. Thus, certain re-cycled space is considered to be a powerful resource for the development of the spontaneous settlements.
REFERENCES
Clemente, M. (2005). Estetica delle periferie urbane : analisi semantica dei linguaggi dell’architettura spontanea. Roma: Officina.
Conde, L. P., & Magalhães, S. (2004). Favela-Bairro : rewriting the history of Rio. [Rio de Janeiro]: ViverCidades.
Eisenman, P. (1984). The End of the Classical: The End of the Beginning, the End of the End. Perspecta, 21, 154-173.
Giedion, S. (1954). Descrizione del cuore: sommario del’ottavo congresso del CIAM Il Cuore della città: per una vita più umana delle comunità, The heart of the city: towards the humanisation of urban life (pp. xii, 185 p.). Milano: Hoepli editore.
Gregotti, V. (1987). Previsions, predictions. Casabella, 533.
Gregotti, V. (1990). Atpoic typologies; Tipologie atopiche. Casabella, 568.
Groth, J., & Corijn, E. (2005). Reclaiming Urbanity: Indeterminate spaces, informal actors and urban agenda setting. Urban Studies, 42(3).
Habermas, J. (1982). “Modern and postmodern architecture” (H. Tsoskounglou, Trans.) Rethinking architecture : a reader in cultural theory. London ; New York: Routledge.
Harvey, D. (1990). The condition of postmodernity : an enquiry into the origins of cultural change. Oxford: Blackwell.
Koolhaas, R., Boeri, S., Kwinter, S., Tazi, N., & Obrist, H.-U. (2000). Mutations : Harvard Project on the City., . Bordeaux, France: ACTAR ; Arc en reve centre d’architecture.
MacDonald, L. (1978). Spontaneous Urban Settlements. Habitat Intl., 3(1/2).
Rao, V. (2010). Slum as a theory. Lotus, 143.
Rogers, E. N. (1952). Il Cuore: problema umano della città CIAM 8. Il cuore della città: per une vita più umana della comunità. Milano: Hoepli.
Rudofsky, B. (1964). Architecture without architects, an introduction to nonpedigreed architecture. New York,: Museum of Modern Art; distributed by Doubleday, Garden City.
Secchi, B. (1991). The peryphery. Casabella, 583.
Sennett, R. (2007). Open City The endless city : the urban age project by the London School of Economics and Deutsche Bank’s Alfred Herrhausen Society. London: Phaidon.DIPARTIMENTO DI ARCHITETTURA E STUDI URBANI24BERTELLI, GUYA GRAZIA MARIAGALLIANI, PIERFRANC
Under the sea : sotto il segno del mare. Nuovo museo del design a Nizza
No full textLAUREA MAGISTRALEIl nostro progetto di tesi ci ha permesso di esplorare la città di Nizza sia in maniera fisica, effettuando un sopralluogo, che attraverso la sua storia e morfologia. Nizza è una città eclettica che durante i secoli ha assorbito come una spugna influenze da ogni cultura con cui è entrata in contatto, numerosi sono i segni e le tracce lasciate dalle diverse popolazioni che la hanno abitata. Questi segni sono chiari anche dal punto di vista urbano, infatti la lettura approfondita della città ci ha permesso di individuarne i sistemi, sia naturali che antropomorfi, che la identifichino e ne segnano i limiti. Studiandola e percorrendola abbiamo individuato nelle sue forme e geometrie dei limiti e delle soglie, gli intervalli ed i ritmi da esse generate. Per sviluppare il progetto è stato fondamentale capire lo stretto rapporto che lega la città di Nizza con il mare, infatti durante la belle epoque il casinò che ora si trova ai margini del Paillon, era invece posto a largo della riva. Il quadrato ed il cerchio saranno le geometrie fondamentali e caratterizzanti l’intero progetto, che propone una nuova sede per il museo del design di Nizza, chiuso nel corso degli anni. Il progetto è collocato in quella porzione di città in cui l’asse della via J. Medecin, strada simbolo della città barocca, si incontra e penetra nella città antica, dando il via ad una trasformazione del suolo urbano, in tutte e tre le dimensioni. In questo punto la piazza ribassata da noi progettata darà accesso al museo e dalle sue fondamenta nascerà la struttura a maglia cubica che fungerà da richiamo e lanterna del museo. L’edificio del museo sarà posizionato a largo della spiaggia di Nizza, totalmente celato sotto il segno del mare, avente come unico segno della sua presenza 10 piloni in acciaio, che riprenderanno la direttrice di via J. Medecin, il museo invece seguirà una nuova direttrice da noi individuata, ruotando l’asse barocco sul perno di piazza Massena, per esplicitare la nostra volontà di allontanarci dalla maglia urbana della città barocca. Il museo sarà raggiungibile solamente tramite un tunnel ipogeo posizionato sotto la promende des Anglais e la strada che costeggia il litorale, non rendendole più un limite ma creando una soglia d’accesso al mare.Our thesis project has allowed us to explore the city of Nice both physically, by carrying out an inspection, and through its history and morphology. Nice is an eclectic city that over the centuries has absorbed as a sponge influences from every culture with which it has come into contact, there are numerous signs and traces left by the different populations that have inhabited it. These signs are also clear from the urban point of view, in fact the in-depth reading of the city has allowed us to identify the systems, both natural and anthropomorphic, that identify it and mark its limits. By studying it and following it, we have identified in its forms and geometries limits and thresholds, intervals and rhythms generated by them. In order to develop the project it was fundamental to understand the close relationship between the city of Nice and the sea, in fact during the belle époque the casino which is now located on the edge of the Paillon, was instead located off the shore. The square and the circle will be the fundamental geometries and characterizing the whole project, which proposes a new site for the museum of design in Nice, closed over the years. The project is located in that portion of the city where the axis of the J. Medecin street, symbol of the baroque city, meets and penetrates the ancient city, initiating a transformation of urban land, in all three dimensions. At this point the lowered square we designed will give access to the museum and from its foundations will be born the cubic mesh structure that will act as a reminder and lantern of the museum. The building of the museum will be located off the beach of Nice, totally hidden under the sign of the sea, having as only sign of its presence 10 steel pylons, which will take up the route of J. Medecin Street, the museum instead will follow a new route identified by us, rotating the axis of Baroque pivot Massena Square, to make clear our desire to move away from the urban mesh of the baroque city. The museum will be accessible only through an underground tunnel located under the promende des Anglais and the road that runs along the coast, no longer making it a limit but creating a threshold to access the sea
“No one is left with no means to live on”. Basic Income in the Futurological Perspective
No full textAutorka podejmuje kwestię wprowadzenia dochodu podstawowego oraz jego wpływu na społeczeństwo w perspektywie długofalowej. Prezentuje pomysły Richarda Wilkinsona i Guya Standinga, mające doprowadzić do zbudowania inkluzywnego społeczeństwa, w którym każdy ma zapewnione środki do życia. Analizuje koncepcję dochodu podstawowego, przedstawiając jej rys historyczny oraz dotychczasowe przykłady realizacji, przytacza także argumenty jej zwolenników i przeciwników. Odwołując się do przykładu antyutopijnej powieści s-f Janusza A. Zajdla, Limes inferior, wskazuje na potencjalne zagrożenia, jakie niosłoby takie rozwiązanie.The Author considers the issue of introducing the basic income and the impact which such a decision would exert on the society in the long term. The Author presents concepts by Richard Wilkinson and Guy Standing, which are to result in the building of an inclusive society in which every person is guaranteed resources to live on. The Author analyses the concept of basic income presenting its historical background and previous examples of implementation; the arguments by the supporters and opponents of the solution have also been quoted. Referring to the example of the dystopian science f-s novel by Janusz A. Zajdel, Limes Inferior, the Author points out the potential risks which the solution would entail
Am J Trop Med Hyg
No full textSchistosomiasis remains a major public health problem in Kenya. The World Health Organization recommends preventive chemotherapy with praziquantel (PZQ) to control morbidity due to schistosomiasis. Morbidity is considered linked to intensity of infection, which along with prevalence is used to determine the frequency of mass drug administration (MDA) to school-age children. We determined the impact of annual school-based MDA on children across all primary and high school years using a repeated cross-sectional study design in five schools near Lake Victoria in western Kenya, an area endemic for |. At baseline and for the following four consecutive years, between 897 and 1,440 school children in Grades 1-12 were enrolled and evaluated by Kato-Katz for | and soil-transmitted helminths (STH), followed by annual MDA with PZQ and albendazole. Four annual rounds of MDA with PZQ were associated with reduced | prevalence in all school children (44.7-14.0%; | < 0.001) and mean intensity of infection by 91% (90.4 to 8.1 eggs per gram [epg] of stool; | < 0.001). Prevalence of high-intensity infection ( 65 400 epg) decreased from 6.8% at baseline to 0.3% by the end of the study. Soil-transmitted helminth infections, already low at baseline, also decreased significantly over the years. In this high prevalence area, annual school-based MDA with high coverage across all Grades (1-12) resulted in rapid and progressive declines in overall prevalence and intensity of infection. This decrease was dramatic in regard to heavy infections in older school-attending children
Union rivalry, workers' resistance and wage settlements in the Guyana sugar industry: 1964-1994
No full textThis PhD thesis is a study of the changing social and industrial conditions under which
sugar workers in Guyana have worked, and the responses of workers and unions to
these changes since 1964. It makes extensive use of original trade union and employer
archives, other public and private documentary evidence and interviews with workers
and union and state officials.
The narrative and analysis focuses on the experience of union rivalry and the impact of
state interventions in wage settlements. The sugar industry has several different unions
with differing political and ideological positions, and there have been numerous
instances of union rivalry and workers' discontent over union representation.
Inadequate wage offers have often led to disputes, involving antagonisms between
workers and management but also between workers and their union. In practice the
majority of wage settlements have resulted from the intervention of a Commission of
Inquiry or Arbitration Tribunal. In the late 1970s the state's imposition of wage levels
provoked numerous struggles, often of national proportions, and led to legal
challenges by workers and one of their unions which resulted in the restoration of
collective bargaining. Such developments have had major implications for the national
labour movement. The thesis considers each of these facets of worker and union
experience, and thus develops an analysis of the relationships between union rivalry,
workers' resistance and wage settlements in the context of highly politicised trade
unionism.
In particular it discusses the implications of trade union affiliation to the major political
parties and shows the extent to which political affiliation helped to destroy the
collective bargaining process. It argues that while trade unions are involved in political
struggles, they ought not to be affiliated to political parties, since this is likely to
compromise the independence of the labour movement and weakens the collective
bargaining process
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