Made available in DSpace on 2014-12-17T15:38:59Z (GMT). No. of bitstreams: 1 RosineideGA.pdf: 924487 bytes, checksum: ef321de9eb1fc9387ef2338a2cbef65b (MD5) Previous issue date: 2006-05-19 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / A discuss?o acerca da acessibilidade aos espa?os urbanos ultrapassa os limites f?sicos normalmente abrangidos pelos conhecimentos t?cnicos de arquitetos e engenheiros, pois ? necess?rio que as pessoas saibam que podem chegar a esses locais e us?-los. Os idosos, uma parcela da popula??o que est? aumentando mundialmente, fazem parte do grupo de usu?rios que podem apresentar dificuldades para a utiliza??o dos espa?os. Esta investiga??o documenta e analisa como as pessoas idosas percebem a acessibilidade da sua cidade. O estudo foi realizado em dois bairros da zona leste de Natal/RN, Alecrim e Rocas, de grande concentra??o de idosos. Em cada bairro, foram entrevistados 12 idosos (seis homens e seis mulheres), na faixa et?ria de 60 anos e acima. A estrat?gia multi-m?todos empregada, coerente com o car?ter interdisciplinar da ?rea, envolveu entrevista semi-estruturada, que incluiu elabora??o de desenhos, manipula??o de mapas e reconhecimento de fotografias. A avalia??o do que se designou acessibilidade psicol?gica levou em conta o papel dos aspectos f?sicos e simb?licos do espa?o urbano, bem como a inser??o social, espacial e hist?rica daqueles bairros na determina??o desse processo. Com rela??o ao g?nero, os homens se mostraram mais convencionais e as mulheres mais detalhistas, estas apresentando uma maior facilidade em assumir o papel do outro sexo. Em geral, os idosos se identificaram mais com o pr?prio bairro do que com a cidade. Para eles era poss?vel imaginar o futuro da cidade e do bairro, mas sem incluir a presen?a deles pr?prios, principalmente no caso dos mais velhos, um dos fatos que evidencia a dissocia??o entre pessoa e ambiente, preocupa??o central ao se considerar uma perspectiva de sustentabilidade urbana

There are many components which define and complete the urban spaces. One of these components is urban equipment which responds to the needs of the dweller by serving different purposes and creates a link between urban life and public life style. Urban equipment not only enables the interaction between urban spaces and the users of these places, but also has an efficient role in defining the cities&rsquo / quality and &ldquo / identity&rdquo / . Ankara, as the capital city of the Turkish Republic, has had an important mission throughout its history. But although it is the first planned city of the Turkish Republic, Ankara has become a victim of modernization and rapid and unplanned urbanization. As a result of this situation Ankara started to lose its own values. The main purpose of this thesis is, to identify the roles of urban equipment as a visual image, based on the perception of environmental spaces and creating urban identity. The methodology in this thesis is firstly determining the urban equipment on Atat&uuml / rk Boulevard which lies between Ulus and Kugulu Park which is the center line of Ankara and then questioning their effects on the urban identity. For this reason a questionnaire is applied to the local users and then according to this questionnaire&rsquo / s results, urban equipment&rsquo / s values as an urban identity element are analyzed. As a result of this study, urban equipments on Atat&uuml / rk Boulevard and their positive and negative values are determined. Therefore, how they are perceived by the local users and their contribution to the spatial and urban identity is determined.

Šio darbo užsibrėžtas tikslas - išanalizuoti kultūrinių kūrybinių industrijų (KKI) ir didžiųjų prekybos centrų kaip moksliniame diskurse antagonistinių miesto raidos kelių santykį Šiaulių mieste bei įtaką miesto raidai. Magistro darbe, remiantis Lietuvos ir užsienio mokslinės literatūra bei dokumentų analize išanalizuotos kultūrinių kūrybinių industrijų (KKI) sampratos, atskleidžiamos kaip miestų vystymo, regeneracijos instrumentai bei moksliniame diskurse populiarios miesto regresavimo idėjos, siejamos su didžiųjų prekybos centrų neigiamu poveikiu miestų raidai. Tyrimas atskleidžia, kad neišvystytos iki konkurencingo lygmens bent jau Lietuvos kontekstu KKI mieste praktiškai neturi įtakos Šiaulių raidai, todėl didieji prekybos centrai, pirmiausia savo reikmėms bendradarbiaudami su KKI, gali būti traktuojami kaip polifunkciniai centrai, perimantys tradicines miesto funkcijas, įtakojantys ne vien neigiamus, bet ir teigiamus miesto raidai procesus ir net matomi kaip tolimesnė miesto raidos perspektyva. / The main goal of this paper is to analyze antagonistic relationship of the cultural creative industries (CCI) and hypermarkets as scientific discourse in the development of the city of Siauliai as well as its influence on urban development. According to the Lithuanian and foreign scientific literature and document analysis cultural creative industries (CCI) concepts are revealed as urban development regeneration instruments and in scientific discourse popular urban regression ideas associated with the major hypermarkets negative implications for urban development The survey shows that CCI that has not reached the competitive level (at least in the context of Lithuania) has little influence to development of Siauliai city, therefore hypermarkets primarily for their needs cooperating with the CCI may be considered as polyfunctional centers, who absorbs the traditional city functions, affecting not only negative, but positive processes for urban development as well, and even seen as a further urban development perspective.

Investigando aspectos da configuração e dos usos dos espaços da Praça Pádua Salles, município de Amparo S.P. no passado e no presente, além dos significados a ela atribuídos no decorrer do tempo, o trabalho busca responder em que se baseiam suas identidade e memória. Pretende construir a memória da Praça a partir de um levantamento sobre a sua história que referencia a história da cidade. Analisa, também, construções e usos da Praça no cotidiano em que ela se apresenta como espaço de convívio, lazer e cívico. No decorrer do trabalho, a Praça é analisada em relação à cidade: à sua evolução urbana, à preservação do patrimônio histórico e cultural e às estratégias atuais de desenvolvimento urbano de Amparo. Por fim, o trabalho busca sintetizar o universo de informações levantadas, indagando a identidade da Praça e apontando diretrizes de projeto para a Praça Pádua Salles do amanhã. Faz referências às noções de permanências, coração da cidade e lugar. Também, da cidade que, por suas características culturais e conformação histórica tem, no presente, sua identidade vinculada ao passado, embora seja provida de informação atual expressa por intervenções urbanas que enxergam o futuro. Portanto, da cidade que se mantém em harmonia com o ontem e o hoje, com a cultura e o ambiente local. / Investigating aspects of the past and current configurations and uses of the spaces of Praça Pádua Salles (Amparo, S.P.) as well as the significance attributed to the site over time, this work attempts to identify the basis for the squares identity and memory. It intends to reconstruct Praça Pádua Salles´s memory with a survey about its history that uses the history of the city of Amparo as a reference point. The work analyzes the constructions and uses of the square in daily life, when it appears as a space for social, recreational, and civic gatherings. As the work progresses, the square is analyzed in relation to Amparos urban evolution, the preservation of the citys historical and cultural heritages, as well as the citys current urban development strategies. Finally, the work summarizes all the information gathered and ponders upon the squares identity, suggesting guidelines for a future Praça Pádua Salles project. The work makes references to the notions of permanency, heart of a city, and site. Also, it makes reference to a city that, because of its cultural characteristics and historical conformation, has its current identity linked to the past even though it is provided with current knowledge, as shown by urban interventions that have the future in mind. The city, therefore, remains in harmony with yesterday and today, as well as with the local culture and environment.

The purpose of this thesis is to broaden and deepen the understanding of the urban regeneration and demolition processes taking place in Swedish cities between the 1940s and 1960s. Special attention is placed on how past and present layers of the city were used, conceptualized and legitimized by influential actors within the framework of urban governance. This is done by studying the function of the open air museum Old Linköping, formed in the 1940s aiming to preserve old houses through relocation, and the role of its administrative organ the Valla Board. The study departs from theories of urban spatio-temporal identity production, urban regime analysis and actor influence, employs the method of qualitative thematical content analysis, and covers the timespan 1944–1967. The research questions concern how Old Linköping’s function is described, legitimized and related to Linköping’s urban identity and urban regime; how processes of preservation, demolition and modernization are related to this function; the role of the Valla Board and its key actors within Linköping’s urban regime; and how the function of Old Linköping and Linköping’s urban regime changed during the studied time in relation to the national development of urban planning. The study shows that Old Linköping was assigned a broad societal function which became a positive identity-marker for Linköping, and a desirable incentive for the urban regime as it brought together several agendas. The objective of preservation became a legitimate part of this function through a focus on practical use and future value of the houses, and adherence to the consensus of modernization. The role of the Valla Board and its central actors, the initiator Lennart Sjöberg in particular, emerges as crucial for this process, and to the stability of the regime. Despite external contestation in the 1960s, the function of Old Linköping and the urban regime remained stable during the studied period. Its function, contestation and surrounding urban regime aligns with, but also nuances the general development.

Abstract  The purpose of this essay is to examine the role of street art in modern cities. In order to explore this we’ve chosen Berlin as our case study, particularly the districts Friedrichshain, Kreuzberg and Prenzlauer Berg. Our chosen method is ethnography. The theoretical perspectives we’ve chosen that allow us to gain a deepened understanding of the role of street art in the urban landscape is representation and urban identity. These perspectives have been used to investigate what is represented in street art and how different forms of street art shape and affect the city's identity. Our results show that street art plays a role in creating urban identity and culture around a place and how different conditions of the districts have a potential role in what kind of street art is created. We have seen that street art functions as a representation for socioeconomic challenges, and that there is a culture of reproduction that is reflected by the street art. Gentrification of the city and commodification of street art have an impact on artistic expression, available space and the street art’s ability to communicate with citizens. / Sammanfattning Syftet med denna studie är att undersöka gatukonstens roll i stadsmiljön. För att utföra detta har vi studerat Berlin, med särskilt fokus på stadsdelarna Friedrichshain, Kreuzberg och Prenzlauer Berg. Vår valda metod är etnografi. De teoretiska perspektiv vi använt för att skapa fördjupad förståelse för gatukonstens roll är representation och urban identitet. Teorierna har använts för att undersöka vad gatukonsten representerar samt hur olika former av gatukonst formar och påverkar stadens identitet. Vårt resultat visar att gatukonst spelar en roll i det urbana identitetsskapandet och kulturen för en plats, vilka olika förutsättningar en stadsdel har, men även en potentiell roll i vilken gatukonst som skapas. Vi har sett att gatukonst kan fungera som representation för socioekonomiska utmaningar samt att det finns en kultur av reproduktion som reflekteras genom gatukonsten. Gentrifieringen av staden och kommodifierad gatukonst har en påverkan på konstnärligt uttryck, tillgänglig yta och gatukonstnärernas förmåga att kommunicera med invånarna.

Aujourd’hui, dans un contexte de forte compétition, de nombreuses villes doivent trouver des stratégies pour se distinguer et se positionner sur le marché mondial. Pour ce faire, certaines villes vont recourir spécifiquement à la mise en valeur de leur patrimoine architectural local. Cette thèse s’attache à comprendre le rôle que joue un capital culturel et symbolique majeur dans la construction identitaire, communicationnelle, patrimoniale et touristique d’une ville. La recherche s’est centrée sur le rôle qu’a en particulier joué la figure de l’architecte emblématique, et s’appuie notamment sur celle d’Antoni Gaudí (1952-1926). En effet, Barcelone a connu en seulement quelques années un accroissement touristique spectaculaire, et est devenue une destination culturelle internationale. Cette augmentation du tourisme a été accompagnée par la mise en valeur des œuvres de cet architecte représentatif du modernisme catalan, longtemps restées fermées au public, et devenues aujourd’hui l’attraction touristique phare de la capitale catalane. Barcelone est à présent automatiquement identifiée à Gaudí, devenu le symbole de la ville. A partir d’une analyse comparée et approfondie de la patrimonialisation et de la mise en tourisme des œuvres d’Antoni Gaudí à Barcelone et de Charles Rennie Mackintosh à Glasgow, cette thèse vise à éclairer pourquoi dans certains cas, les constructions «ville-architecte» sont très développées et les villes immédiatement identifiées à un architecte, et à l’inverse, pourquoi dans d’autres cas, cette fusion qui s’opère entre l’image d’une ville et l’image d’un architecte est beaucoup moins développée et évident. / Today, in a context of strong global competition, many cities have to find ways to position themselves on the global market and to distinguish themselves. In order to do so, some cities will specifically seek to enhance their local architectural heritage. This thesis aims to understand the role that a major cultural and symbolic capital plays in a city’s identity construction and its communication, heritage and tourist development. The research is centered on the role played in particular by the figure of an emblematic architect, and focuses especially on the role of Antoni Gaudí (1952-1926). Indeed, in only a few years, Barcelona has witnessed a spectacular increase in tourism figures and has become an international cultural destination. This increase in tourism, has been accompanied by the enhancement of the work of this representative architect of Catalan modernism. His work remained for a longtime closed to the public, and yet today they have become the major tourist attraction of the Catalan capital. Barcelona is now instantly identified with Gaudí who has become the symbol of the city. Through an in-depth comparative analysis of the the heritagization and touristification of Antoni Gaudí’s work in Barcelona and Charles Rennie Mackintosh’s work in Glasgow, this thesis aimsto understand why in some cases, the “city-architect” constructions are well developed and the cities are immediately identified to an architect, and on the other hand, why in other cases, this link that occurs between the image of a city and the image of an architect, is much less developed and obvious.

Over the last two decades Bongo Fleva music has become a popular form of entertainment as well as a key cultural element among Tanzanian urban youth. The objective of this paper is to examine the role of pseudonyms in this musical genre in Tanzania. It focuses on how Bongo Fleva artists adopt their pseudonyms and discusses their role in identity formation among urban youths in contemporary Tanzania. The paper argues that pseudonyms in Bongo Fleva, as in various other fields, have an important role to play in portraying one’s identity, culture, characteristics, profile, actions, hope and imagination.

<p>Bilaga: 1 CD.</p>

The end of the Second World War found the city of Thessaloniki devastated by the loss of nearly its total Jewish population in the concentration camps of the Third Reich. A few survivals return to their city just to realize that their fortunes have been confiscated either by the local authorities or by their Christian neighbors. Some Jews decide to leave their former homeland and some others take the decision to remain and start their life from scratch. For the following decades, the Jewish history of the city is being carefully and on purpose hidden and the collective memory erases the traces of Jews. In this part of the story, the Jews by themselves kept a low public profile and remained silent, struggling to survive and rebuild their fortunes. It was in 2013, when a heterogeneous group of people decided to launch the Memory Walk “Never Again” for the 50.000 Jews of Thessaloniki who lost their lives in the Shoa (Holocaust). The Memory walk had to deal with the barriers of the strong nationalistic profile of the city and of its local population. However, the Memory walk came to be established as an institution which exists and grows until today. The current paper examines how local digital media approached the first Memory walk taking into consideration the Jewish history, the stereotypes regarding Jews, the antisemitism and the strong nationalist and deeply religious profile of the city. The first part describes the Jewish presence in Thessaloniki under the Ottoman Empire, the consequences of the Hellenization of the city in 1912, the national identity formation process and the mobilizing role of the Orthodox Church in the political and cultural homogenization. In the second part, digital media articles related to the first Memory Walk are being analyzed according to the CDA (critical discourse analysis) and a critical reflection on how media approached the Memory walk is finally presented. The analysis results will be finalized with the conclusions which derive from in person interviews with key stakeholders of the Memory Walk.