By Daniel Hinchcliffe, Judith Rugg
This moment quantity investigates the multi-disciplinary terrain of house and tradition, extending the limits of urbanism and addressing problems with public area. It demonstrates that severe knowing of cultural interventions in public house is now appropriate to a variety of disciplines. Contributions comprise works on: the exam of ''authentic'' public house in Barcelona; the connection of the paintings of Doris Salcedo to the unseen areas in Birmingham; the consequences of gender within the construction of The Wapping undertaking in East London; the self-representation of asylum-seekers from Bosnia-Herzegovina; the problem of the ''imagined'' neighborhood when it comes to the Irish in Britain; and the importance of assemblage within the paintings of Mierle Laderman Ukeles and the worldwide value of neighborhood activities in collaborations among ecologists and artists.
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I just ﬁnd el Raval a really nice place,but not well used and which isn’t been treated well. (Antonio, new resident, 5 years living in el Raval) Paradoxically then, the marginality that the regeneration strategies aim to dispel is precisely what attracts many newcomers to the area. ‘Marginality’ is regarded as charming, as an added ingredient to the authentic, bohemian character of el Raval which is often referred to as ‘colourful’. From a critical position one could argue that part of the process of normalising ‘marginal’ parts of the city is internalising its margins, as commodiﬁed sites.
As we survey recent urban regeneration experience around the UK we can ﬁnd that examples of such spaces have proliferated. It not only represents a roll call of former heavily industrialised cities (for example, Newcastle, Bristol, Birmingham, and Glasgow) but also increasingly one of the great and the good from the 49 architecture and design elite. What these all illustrate is the impact of the design industry, and in many cases a design elite, upon urban centres. These centres then have become the focus for such design impacts, often creating design oases in otherwise somewhat down-at-heel urban environments.
However, in the case of Bankside the initiative was carried through both in the development of work suggested by the original participants in the competition, but also emerged in a number of other, and wide ranging, design-based projects and major architectural schemes. The design project drew in some 100 portfolios of which 7 architectural practices were chosen to work in areas of the borough seen as being in particular need of regeneration, most of these were in the Bankside area. Yet it was also identiﬁed that in initiating their proposals the chosen designers had to interact with the local community and engage actively in a consultation exercise.