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...This case study traces the contemporary mural movement in three cities: Boston, Philadelphia, and Los Angeles; it examines the evoluation of mural art from impromptu political protest to programs administered and funded by municipalities; this paper explains how mural arts projects can establish communal bands in urban centers rife with racial, social, and economic divides, how they can build social and intellectual capital in "at risk" youth, and how they can enhance the physical perception and quality of urban neighborhoods...
The interaction with happened-upon street art is both physical and emotional, provoking a reaction and hopefully a conversation about the work this worldwide phenomenon. From backs of street signs to corporate boardrooms, its visibility, popularity, and diversity is what makes it so beloved. Highlighting some of the best work from around the world, The Urban Canvas is an extensive look at this art form and the artists that make it great. Whether created as political message, social commentary, or simply visual entertainment, street art has reclaimed art from the privileged and brought it back into the open for everyone to experience. Art professor, critic, and historian G. James Daichendt presents street art from around the world in The Urban Canvas, an exploration of how this global art form has been influenced by local customs and culture. Featuring the art of Banksy • Kenny Scharf •Shepard Fairey • Ron English • Blu • Keith Haring • Os Gêmeos • Vhils • D*Face • JR • Escif • Swoon • Barry McGee • ROA • Invader • Eduardo Kobra • Robbie Conal • Fin DAC • Chase • Toxicómano • Gaia • Herr von Bias • Herakut • Pixel Pancho • Cranio • Hyuro • Blek le Rat • Boa Mistura • Aryz • Stik • Stinkfish • CRISP • Adnate • Lady Aiko • Faith47 • C215 • Rone • Case Maclaim • El Seed • P183 • Clet • Bukruk • El Mac • Yuree Kensaku • David Flores • Plastic Jesus • Hueman • Tristan Eaton • Bumblebee • Nychos • Thierry Noir • Smug • Ericailcane • Fintan Magee • Alexis Diaz • Liqen • André • Ludo • . . . and many more! Territories featured: North America, South America, Australia, Europe, Asia, Africa
Loisaida as Urban Laboratory is the first in-depth analysis of the network of Puerto Rican community activism in New York City’s Lower East Side from 1964 to 2001. Combining social history, cultural history, Latino studies, ethnic studies, studies of social movements, and urban studies, Timo Schrader uncovers the radical history of the Lower East Side. As little scholarship exists on the roles of institutions and groups in twentieth and twenty-first-century Puerto Rican community activism, Schrader enriches a growing discussion around alternative urbanisms. Loisaida was among a growing number of neighborhoods that pioneered a new form of urban living. The term Loisaida was coined, and then widely adopted, by the activist and poet Bittman “Bimbo” Rivas in an unpublished 1974 poem called “Loisaida” to refer to a part of the Lower East Side. Using this Spanglish version instead of other common labels honors the name that the residents chose themselves to counter real estate developers who called the area East Village or Alphabet City in an attempt to attract more artists and ultimately gentrify the neighborhood. Since the 1980s, urban planners and scholars have discussed strategies of urban development that revisit the pre–World War II idea of neighborhoods as community-driven and ecologically conscious entities. These “new urbanist” ideals are reflected in Schrader’s rich historical and ethnographic study of activism in Loisaida, telling a vivid story of the Puerto Rican community’s struggles for the right to stay and live with dignity in its home neighborhood.
Street art is now a recognised art form that can be thought-provoking, political, humorous or shocking. Urban Scrawl documents some of the world's most interesting street-art words and typography, from formal typography to angsty scrawl, presented in a small-format hardback that's perfect for any gift or self-purchase. Lou Chamberlin has travelled from Warsaw to London, Tokyo to New York, Cape Town to Santiago, and within her home country of Australia, in search of the world's most interesting and intriguing street art. Her photographs capture these works at a moment in time, documenting and celebrating the ever-changing street art scene.
Wasser ist eine globale Ressource für heutige Gesellschaften – Wasser war eine globale Ressource vormoderner Gesellschaften. Die manigfaltigen unterschiedlicher Wassersysteme für Prozesse der Urbanisierung und das urbane Leben in der Antike und dem Mittelalter ist bislang kaum erforscht. Die zahlreichen Beiträge dieses Bandes fragen nach der grundlegenden kulturellen Bedeutung von Wasser ( bzw. power of water) in der Stadt und Wasser für die Stadt aus unterschiedlichen Perspektiven. Symbolische, ästhetische oder kultische Aspekte werden ebenso thematisiert wie die Rolle von Wasser in Politik, Gesellschaft oder Wirtschaft und dem alltäglichen Handeln, aber auch in Stadtplanungsprozessen oder städtischen Teilräumen. Nicht zuletzt stellen die Gefahren von verschmutzten Wasser oder Überschwemmungen die städtische Gesellschaft vor Herausforderungen. Die Beiträge diesen Band lenken den Blick auf die komplexen und vielfältigen Beziehungen zwischen Wasser und Menschen. Das Sammelwerk präsentiert die Ergebnisse einer internationalen Tagung in Kiel 2018. Es wendet sich gleichermaßen an Leser aus den altertumskundlichen wie mediävistischen Fächern und darüberhinaus an alle Interessierten, die sich über die Vielfalt von Wassersystemen im Stadtraum der Antike und des Mittelalters informieren möchten.
This book provides the tools to maintain and rebuild the interaction between architecture and public space. Despite the best intentions of designers and planners, interactive frontages have dwindled over the past century in Europe and North America. This book demonstrates why even our best intentions for interactive frontages are currently unable to turn a swelling tide of economic and technological evolution, land consolidation, introversion, stratification, and contagious decline. It uses these lessons to offer concrete locational, programming, design, and management strategies to maximize street-level interaction and trust between street-level architecture, its inhabitants, and the city. This book demonstrates that designers, developers, planners, and managers ultimately have to create the right preconditions for inhabitants and passersby to bring frontages to life. These preconditions connect architecture to its urban, social, economical, and technological context. Only the right frontage in the right context, with the right design, the right inhabitation, and the right attitude to the city will become part of the ecosystem of trust and interaction that supports public life. This book empowers the many participants in this ecosystem to build, inhabit, and enjoy truly urbane architecture.
Based on her extensive experience in the urban communities of Los Angeles, historian and architect Dolores Hayden proposes new perspectives on gender, race, and ethnicity to broaden the practice of public history and public art, enlarge urban preservation, and reorient the writing of urban history to spatial struggles. In the first part of The Power of Place, Hayden outlines the elements of a social history of urban space to connect people's lives and livelihoods to the urban landscape as it changes over time. She then explores how communities and professionals can tap the power of historic urban landscapes to nurture public memory. The second part documents a decade of research and practice by The Power of Place, a nonprofit organization Hayden founded in downtown Los Angeles. Through public meetings, walking tours, artists's books, and permanent public sculpture, as well as architectural preservation, teams of historians, designers, planners, and artists worked together to understand, preserve, and commemorate urban landscape history as African American, Latina, and Asian American families have experienced it. One project celebrates the urban homestead of Biddy Mason, an African American ex-slave and midwife active betwen 1856 and 1891. Another reinterprets the Embassy Theater where Rose Pesotta, Luisa Moreno, and Josefina Fierro de Bright organized Latina dressmakers and cannery workers in the 1930s and 1940s. A third chapter tells the story of a historic district where Japanese American family businesses flourished from the 1890s to the 1940s. Each project deals with bitter memories—slavery, repatriation, internment—but shows how citizens survived and persevered to build an urban life for themselves, their families, and their communities. Drawing on many similar efforts around the United States, from New York to Charleston, Seattle to Cincinnati, Hayden finds a broad new movement across urban preservation, public history, and public art to accept American diversity at the heart of the vernacular urban landscape. She provides dozens of models for creative urban history projects in cities and towns across the country.