The Journal of Public Space https://www.journalpublicspace.org/index.php/jps <h2>&nbsp;</h2> <h2><strong>Public space </strong>in cities is a common good, meant to be open, inclusive and democratic,&nbsp;<strong>a fundamental human right for everybody</strong>.</h2> <p>Dr Luisa Bravo<br><em>The Journal of Public Space</em>, Founder and Editor in Chief<br><em>City Space Architecture</em>, Founding Member and President<br>(from the statement submitted at the <a href="https://unhabitat.org/gc26/" target="_blank" rel="noopener">26th UN-Habitat Governing Council </a>held in Nairobi, Kenya, 8-12 May 2017)<br><strong>Stand up for Public Space!&nbsp;</strong> |&nbsp; UN-Habitat Global Urban Lecture by Dr Luisa Bravo (click <a href="https://unhabitat.org/stand-up-for-public-space-luisa-bravo/" target="_blank" rel="noopener">here</a>)&nbsp; |&nbsp; A global campaign launched at the Habitat III conference in Quito, Ecuador, 2016 (click <a href="http://www.standupforpublicspace.org/" target="_blank" rel="noopener">here</a>)</p> <p>&nbsp;</p> <p>The Journal of Public Space (<strong>ISSN 2206-9658)</strong> is a research project developed by <strong><a title="City Space Architecture" href="http://www.cityspacearchitecture.org/" target="_blank" rel="noopener">City Space Architecture</a></strong>, a non-profit organization based in Italy&nbsp;in partnership with <strong><a title="UN HABITAT" href="http://unhabitat.org/" target="_blank" rel="noopener">UN-Habitat</a></strong>,&nbsp;the United Nations Human Settlements&nbsp;Programme, based in Kenya.<br>The Journal of Public Space is the first, international, interdisciplinary, academic, open access journal entirely dedicated to public space. It speaks different languages and is open to embrace diversity, inconvenient dialogues and untold stories, from multidisciplinary fields and all countries, especially from those that usually do not have voice, overcoming the Western-oriented approach that is leading the current discourse.<br>As a proper public space, The Journal of Public Space is free, accessible and inclusive, providing a platform for emerging and consolidated researchers; it is intended to foster research, showcase best practices and inform discussion about the more and more important issues related to public spaces in our changing and evolving societies.</p> <p>&nbsp;</p> <p>Read more about the <a title="JPS Editorial Team" href="https://www.journalpublicspace.org/about/editorialTeam" target="_blank" rel="noopener">Editorial Team</a>.</p> City Space Architecture en-US The Journal of Public Space 2206-9658 <p>The Authors retain copyright for articles published in The Journal of Public Space, with first publication rights granted to the journal.<br>Authors who publish with this journal agree to the following terms:<br>a. Authors retain copyright and grant the journal right of first publication with the Work simultaneously licensed under a Creative Commons Attribution License that allows others to share the Work with an acknowledgement of the Work's authorship and initial publication in this journal.<br>b. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the Work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.<br>c. Authors are permitted and encouraged to post their Work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published Work (See The Effect of Open Access - http://opcit.eprints.org/oacitation-biblio.html).Articles in this journal are published under the Creative Commons Attribution Licence (CC-BY) - https://creativecommons.org/licenses/by/4.0/. This is to get more legal certainty about what readers can do with published articles, and thus a wider dissemination and archiving, which in turn makes publishing with this journal more valuable for you, the authors.<br>CC-BY – what does that mean?<br>You are free to:<br>• Share - copy and redistribute the material in any medium or format<br>• Adapt - remix, transform, and build upon the material for any purpose, even commercially.<br>The licensor cannot revoke these freedoms as long as you follow the license terms.<br>Under the following terms:<br>• Attribution - You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.</p> Vol. 3 n. 2 | 2018 | FULL ISSUE https://www.journalpublicspace.org/index.php/jps/article/view/1117 Luisa Bravo ##submission.copyrightStatement## http://creativecommons.org/licenses/by-nc/4.0 2018-12-06 2018-12-06 3 2 1 190 10.32891/jps.v3i2.1117 Public Urban Happiness, that is the making of our own world https://www.journalpublicspace.org/index.php/jps/article/view/1116 <p>For centuries the urban environment has been painted, designed, shaped and built in order to answer to specific needs and desires. Visions and drawings of ideal and perfect places still today behave as appealing images, offered to the public domain. During the last century, well-known icons, made of visionary and seducing scenarios, designed by <em>avan-garde </em>architects, acted as a vehicle able to symbolize the pursuit of public happiness: working on an urban imaginary, as a body of knowledge, efforts of architects and town planners were oriented to create a new world, based on ideals of progress and prosperity, with streets, squares, architectural complexes and housing estates for our everyday lives, for a wide satisfaction and consumption of urban users. <br>Far from utopias, the real world hasn’t developed the ability to grant all wishes, often revealing itself as unable to find a way to connect innermost emotions of collective expectations to the outward manifestation in the urban realm. Even in their imperfections, cities expanded beyond what anyone could have imagined, sprawling along territories, scattering over the known borders.</p> Luisa Bravo ##submission.copyrightStatement## http://creativecommons.org/licenses/by-nc/4.0 2018-08-31 2018-08-31 3 2 1 4 10.32891/jps.v3i2.1116 The Public Voice https://www.journalpublicspace.org/index.php/jps/article/view/1107 <p><em>The Public Voice</em> discusses art and activism in public space through the lens of how art practice is re-territoralising public space. The article begins with a consideration of both commissioned and uncommissioned works that challenge male dominance of public space while retaining a traditional relationship between the artist, art and the public. Through a discussion of ‘relational’ public practices from Relational Aesthetic to Community Art to Social Engagement, the article argues that the kind of ‘relational’ art and activism undertaken by the collectives, teams and individuals featured in this issue of <em>The Journal of Public Space</em> is linked by spatial practice as a conduit for social change. By framing their practice through a discussion around her own spatial public practice over time, the author emphasises the impact of urbanisation and digitalisation on the changing nature of public space and the public and how the public voice can be mapped through art and activism.</p> Maggie McCormick ##submission.copyrightStatement## http://creativecommons.org/licenses/by-nc/4.0 2018-08-31 2018-08-31 3 2 5 12 10.32891/jps.v3i2.1107 Art as a tool for change https://www.journalpublicspace.org/index.php/jps/article/view/1108 <p>Each of the more than twenty countries in which we have worked represents a unique experience that has made us learn and gradually generate a participatory methodology in which we involve communities not only in the design process but in the execution of a urban art piece. More than fifteen years of work with the aim of humanizing the city and generating great changes from simple artistic activities.</p> Javier Serrano Guerra Juan Jaume Fernández Pablo Ferreiro Mederos Pablo Purón Carrillo ##submission.copyrightStatement## http://creativecommons.org/licenses/by-nc/4.0 2018-08-31 2018-08-31 3 2 13 40 10.32891/jps.v3i2.1108 Soft, Sexy, Fantastic. Inflating public space https://www.journalpublicspace.org/index.php/jps/article/view/1109 <p>Plastique Fantastique has been operating as a platform for temporary architecture at the interface between art, architecture and urban practice since its founding 1999 in Berlin. Influenced by the unique cultural and spatial conditions that made Berlin a laboratory for testing new ways of acting in public space at the time, the studio has specialised in creating immersive, pneumatic installations made of plastic film as mutant, low energy architectures for ephemeral activities. With their temporary urban interventions they intend to involve citizens in creative processes provoking them to activate, and enjoy public space.</p> Daniel Felgendreher ##submission.copyrightStatement## http://creativecommons.org/licenses/by-nc/4.0 2018-08-31 2018-08-31 3 2 41 74 10.32891/jps.v3i2.1109 Investing in Spaces: Luxury, Benevolence or Business? https://www.journalpublicspace.org/index.php/jps/article/view/1110 <p>This paper highlights the use of spatial transformation to shift the way people experience and engage with community.&nbsp; In essence, physical spaces can make people feel safe, well and like they belong. Moreover, they can infuse purpose into their habitual public and work-life experience. The examples shared include working with the Yale School of Management to help students reflect on and visibly communicate their role as leaders in business and society; the property development company Broder using public art to respectfully build a relationship with a neighborhood they are investing in; YouTube using the process of art creation to celebrate and communicate diversity in the workplace and lastly a public private partnership that brought together the Government, civil society and the private sector to address the erosion of trust and fear as a result of violent extremism in Kenya through a public art installation called Colour in Faith. Nabila Alibhai and her collaborators work to shift culture through investing in the transformation of spaces using art and urban design.</p> Nabila Alibhai Elizabeth Thys ##submission.copyrightStatement## http://creativecommons.org/licenses/by-nc/4.0 2018-08-31 2018-08-31 3 2 75 96 10.32891/jps.v3i2.1110 From sidewalk ballet to defending the city https://www.journalpublicspace.org/index.php/jps/article/view/1111 <p>The city is primarily a public space as it is both a condition and an expression of its citizens. It is the environment where citizens can and should feel as such: free, equal and different. It is where society is performed, where it represents itself and is shown as a community that cohabitates and shows its contradictions, disputes and differences.<br>The city is where collective memory is created and where all the different identities emerge. For this reason, this is the ideal location for Humanae. The faces of thousands of citizens crowding halls and museums to conquer the squares. From the streets of a marginalized neighborhood in Málaga - Spain, or the Rotary Praça in São Paulo - Brazil,&nbsp; to a building at United Nations Habitat III and the entrance of the World Economic Forum in Davos, Humanae uses public space to involve citizens from all over the planet in a global dialogue.</p> Maria del Carmen Mota Utanda ##submission.copyrightStatement## http://creativecommons.org/licenses/by-nc/4.0 2018-08-31 2018-08-31 3 2 97 114 10.32891/jps.v3i2.1111 Using drawing as a tool to explore public space https://www.journalpublicspace.org/index.php/jps/article/view/1112 <p>With my background in architecture, my approach to better understanding public space is to use a process of exploration, observation and drawing on location, or as it’s called in some forums as “urban sketching”. With observation I try to understand the elements of the built environment which contribute to the vitality of a city. My drawings become comments on either the political landscape or social context of a particular place. Before I start the drawing process, I explore, observe, and talk to local people, gathering information on the layers complexity that exist in order to better understand place.<br>This observational approach forms a framework to work within and enables me to begin the process of making an interpretation, through drawing, of a place. A key aim of this approach is to distill what I see into a simple form.<br>Whether it be a large expansive wall drawing, or a small scale drawing in a sketch book, my artwork has the aspirational aim to provoke a wider discussion about our cities, public spaces, and the built environment. It also tries to look at how people use these spaces, and document what’s important to a “soul” of a place and how this approach resonates with its characteristics. Using drawing as a tool to highlight a message has enabled me to express ideas on how public space can be improved and enhanced from a social, political and experiential point of view.</p> Richard Briggs ##submission.copyrightStatement## http://creativecommons.org/licenses/by-nc/4.0 2018-08-31 2018-08-31 3 2 115 148 10.32891/jps.v3i2.1112 A situated practice https://www.journalpublicspace.org/index.php/jps/article/view/1113 <p>A situated practice explores one artist’s approach to navigating the shifts and changes inherent in the public space of the post-industrial city and suburbs of Melbourne, Australia. Collaborative, ephemeral, site-specific, relational works in three specific sites; Station Pier in Port Melbourne, automated pedestrian crossings throughout the city, and at the Western Treatment Plant, the sewerage facility on the western edge of Melbourne’s urban sprawl, explore everyday public sites to stake a claim for the imagination. Engaging with the work of critical theorists including Rosi Braidotti, Franco Bifo Berardi and Donna Haraway I am interested in how the abstraction of ordinary experiences and spaces allow artists and audience to co-constitute the possibility of something other, triggering fleeting transformative acts of imagination. Through this body of work, I am learning how to leave the marks of care for the future and ‘stay with the trouble.’ (Haraway, 2016, p.10).</p> Fiona Hillary ##submission.copyrightStatement## http://creativecommons.org/licenses/by-nc/4.0 2018-08-31 2018-08-31 3 2 149 166 10.32891/jps.v3i2.1113 Canberra’s first ever Parklet https://www.journalpublicspace.org/index.php/jps/article/view/1114 <p>In the spring of 2016, The Australian Capital Territory (ACT) Planning Institute of Australia’s Young Planners had an idea, to create Canberra’s first parklet. Finally, in June 2018, the Parklet was built! It was a long and complicated journey to provide an urban renewal idea into the ACT, the result was a well utilised and loved piece of Canberra furniture. Although 4 minutes after the last barrier was removed, a car drove into the car space and it was as if the project had never happened! This article will explore the Canberra context, the feedback, how a temporary structure can change the urban fabric of the city and how Canberrans can learn from this experience.</p> Natalia Weglarz ##submission.copyrightStatement## http://creativecommons.org/licenses/by-nc/4.0 2018-08-31 2018-08-31 3 2 167 172 10.32891/jps.v3i2.1114 The urban lounge and a green view https://www.journalpublicspace.org/index.php/jps/article/view/1115 <p>‘The urban lounge and a green view’ was a temporary art installation promoted by City Space Architecture in collaboration with bAQ, Bottega Azioni Quotidiane, a young group of Architecture students from the University of Florence. It was part of the ‘Arte Fiera. International Fair of Modern and Contemporary Art’ in Bologna, Italy, and took place during the ‘Art City White Night’ on January 25, 2014. It was intended to transform two parking spots in the <em>core</em> of the historic city of Bologna into places of social interaction. It was inspired by the worldwide famous Park(ing) Day, started in 2005 by Rebar in San Francisco.</p> Luisa Bravo ##submission.copyrightStatement## http://creativecommons.org/licenses/by-nc/4.0 2018-08-31 2018-08-31 3 2 173 178 10.32891/jps.v3i2.1115