The language of urban squares
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This project is a hybrid between a scientific and an artistic approach to the subject. I am aware that this narrow path between them might be speculative and perhaps not 100% accurate, but the objective is to have more freedom in interpreting the facts, and then provoke action from interested and influential people.
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I am working in Media Production here at Seneca as a multi media designer on print, web and interactive projects. By education I am an architect and have always, since school, maintained my art practise. Conceptual art, photography–both traditional and digital, objects in space, art prints–mainly etchings, small objects–sculptures, quicktime panoramas etc. 4 one man shows and over 20 group exhibitions. The main inspiration and theme was always urban life.
This example is a wall of an old warehouse converted to lofts with small galleries on the ground floor. Colours and structure of the wall are left intact, inscription and light fixtures are added and the whole area is transformed into a display of the past, present and potential future usage.
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It all started several years ago as a collection of urban squares from all over the world. In order to make this collection complete I have developed a system of classification consisting of the Types of Squares& the Evaluation Method.
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I needed a medium for this type of collection, and QuickTime panoramas turned out to be perfect.
Types of square:
1. Ceremonial,
2. Cathedral,
3. Social,
4. Residential,
5. Court,
6. Park,
7. Street extension.
Evaluation method:
1. Sociability,
2. Uses and Activities,
3. Accessibility,
4. Comfort,
5. Image,
6. Tourist Pleasure Degree.
You can check out the whole collection at www.urbansquares.com. It will provide the documentation that makes this collection complete.
This square is in a close proximity to downtown Amsterdam, close to the Waterloo plain market.
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Campidoglio was designed by Michelangelo Buonaroti, the famous Renaissance architect, sculptor and painter, on the Palatine, one of the seven Roman hills. This is a public gathering place which provides access to a couple of art museums. It is a magnificent place to visit, especially near the end of the day, with an unbelievable sunset and a view of the whole city.
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The two of the buildings existed before the Michelangelo intervention, but facades were redesigned to match the third (the one on the left), designed and built by him. An extremely pleasant space, designed having in mind human proportions and perspectives. By far the best existing public square today recommended to be used as a perfect example what a square should be, particularly with problems that cities all over the world are facing today. Carlo Argan, the long time mayor of the Rome, a architectural historian and author, said in one of his interviews:
the substance of the urban environment is quickly perishing.
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By analyzing the elements of the square, I slowly started to realize that there is a similarity between the city and a living organism, and there is a system by which the urban space communicates with us. A square is a city’s “heart and soul” .
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I call that system “The language of urban squares”
Humans are masters (gospodari) of urban space. Just as no city is designed by one man, the message a square is communicating is above the understanding of one person. They (squares) have lot to say about historical inheritance, usage, their health, social status of the inhabitants, need of protection and nourishment.
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Squares talk to us. Their vocabulary is a part of a complex language of art; it is a dialect with very specific characteristics. Elements have their individual meanings, but when combined create new messages.
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Even the most experienced and educated people understand very few of those messages.
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Architectural elements, signage systems, graffiti and many other forms of urban art follow each other in a continuous stream, they surround us and direct our movements, they are given to us in a form on which we, as an individuals, have very little effect.
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Not only visual, sound smell etc.
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Still, we are the only ones that can attempt to interpret them and use their messages in order to understand and try to create more sustainable and habitable cities.
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Lets try to interpret this image. It is in front of a small apartment building in Amsterdam and it is used for tying bicycles over night, (notice the chain). Obviously it makes an impact with some other message too.
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The level on which squares communicate transcends every day life. Careful observation and a lot of passion are necessary in order to interpret/translate their messages. Many urban experts write and lecture on the topic of cities. In my work, I try to match those thoughts with my interpretation of the urban square.
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Rossio is one of the main downtown squares in Lisbon. This VR is especially designed for this occasion. It is black and white to help visually separate communication with the actual square.
The quote used is by Nigel Coats, from the book Giude to Ecstasity, published in London in 2004. It is a guide through a virtual city combined from Rome, Cairo, Mumbai, Tokyo, Rio de Janeiro, New York and London. Very interesting, a book about the sensual side of the city.
One more interesting idea: City is Art, City is Theater... (check)
Rossio (Praca Dom Pedro IV), Lisboa, Portugal, 2002;
quote:
“The city is nothing if you do not interpret it with passion”
by Nigel Coats, Guide to Ecstasity, London, 2004
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The intention of this project is to inspire a new age of urban art that will be engaged in promoting improvements in urban life.
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An unusual little square very near the centre of Antwerpen. Basketball court on the square, close to very limited traffic, pedestrian zone starts here, a couple of cafes with sidewalk patios where you can enjoy a beer.
This is just the beginning, I am planning a next step already, it will be a dictionary or lexicon more appropriately of the language of urban squares. My focus is on both sides of Atlantic because that is where my experience comes from.
St. Jans Vliet, Antwerpen, Belgium, 2005;
Quote: “The city has its own feeelings, in the same way as
a complex organism”,
by B. Bogdaanovic, Urbs & Logos, Beograd, 1972
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I see this project as a forum for free expression, exchange of ideas, and a contribution to the process of healthy urbanization of our cities.
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This square is in Belgrade my birth place, rare jewel from the end of 18 century, preserved in its almost original form, presently in very bad shape.
I have a chance to visit “graffiti alley” in Richmond and West Queen area, open air gallery of screamming new artists. Jumping to the opportunity to display their way of thinking and their way of life.
Instead of bringing more police to the streets we might get someone involved in interpreting the urban massages that young people are sending us and then maybe try to do something to solve the existing social problem?
Kopitareva Gradina, Belgrade, Serbia & Montenegro, 2005;
Quote:
“In the cities choked with advertising, urban art provides an important forum for social commentary and free expression”,
by Tristian Manco, Street Logos, London, 2005.
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I hope that the project will be an inspiration for planners and educators, as well as most influential people in city development, politicians and lawyers. Further work and documentation
(including this presentation) are available at:
http://www.urbansquares.com.
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A controversial square, with a lot of differing opinions. Good sides and bad sides. I call it a hybrid between real and cyberspace, there are always a lot of people siting on the square like in the cinema, they are facing several big screens that surround them. I had an opportunity to meet some of the square designers, they are talk about the square not being finished. We have to respect that but space will not be alive and healthy (loved and used), until people make their own impact. They are doing it even now, notice everybody pulling the chairs to the middle of the space and facing the big screens, bringing their habits from the living room to the public square.
Dundas Square, Toronto, Canada, 2005;
Quote:
“The artist permanently faces the decision of whether to advance against the public as a warlord of innovation”,
by Iconoclash exhibition papers, Karlsruhe, 2002.