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le groupement pépiniériste est composé de trois structures 🡪

Humanité & Inclusion (ONG de développement international) - chef de file

Labess (association d’appui aux acteurs tunisiens de l’économie sociale et solidaire)

Kandeel (bureau d’étude sur le développement urbain et la mobilité)

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Humanité et Inclusion, en partenariat avec le Lab'ess et Kandeel, porte le dispositif de pépinière en Tunisie "Ness Elhouma", un programme d'innovation urbaine financé par l'AFD. La pépinière accompagne des initiatives urbaines participatives et créatives adaptées aux besoins des habitants, dans plusieurs quartiers en cours de transformation dans le cadre des Programmes nationaux de réhabilitation et d'intégration des quartiers d'habitat précaires (PRIQH 1 & 2).

le groupement pépiniériste est composé de trois structures 🡪

Humanité & Inclusion (ONG de développement international) - chef de file

Labess (association d'appui aux acteurs tunisiens de l'économie sociale et solidaire)

Kandeel (bureau d'étude sur le développement urbain et la mobilité)

La Tunisie a accueilli la seconde pépinière qui s'est déployée dans plusieurs zones de Tunisie (Grands Tunis et Gabes notamment) aux côtés des projets de réhabilitation des quartiers précaires réalisés par l'Agence de Réhabilitation et de Rénovation Urbaine (ARRU).

La pépinière de Tunisie intervient dans une quinzaine de quartiers en cours de transformation dans le cadre des deux Programmes nationaux de Réhabilitation et d'Intégration des Quartiers d'Habitat populaire (PRIQH 1 et 2)

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Humanité et Inclusion, en partenariat avec le Lab'ess et Kandeel, porte le dispositif de pépinière en Tunisie "Ness Elhouma", un programme d'innovation urbaine financé par l'AFD. La pépinière accompagne des initiatives urbaines participatives et créatives adaptées aux besoins des habitants, dans plusieurs quartiers en cours de transformation dans le cadre des Programmes nationaux de réhabilitation et d'intégration des quartiers d'habitat précaires (PRIQH 1 & 2).

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Ness Elhouma/ Ensemble construisons notre ville

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Ness Elhouma/ Ensemble construisons notre ville

# data[].attributes.body
Humanité et Inclusion, en partenariat avec le Lab’ess et Kandeel, porte le dispositif de pépinière en Tunisie "Ness Elhouma", un programme d’innovation urbaine financé par l’AFD. La pépinière accompagne des initiatives urbaines participatives et créatives adaptées aux besoins des habitants, dans plusieurs quartiers en cours de transformation dans le cadre des Programmes nationaux de réhabilitation et d'intégration des quartiers d'habitat précaires (PRIQH 1 & 2).

# data[].attributes.attachment_link.readable_text
Humanité et Inclusion, en partenariat avec le Lab'ess et Kandeel, porte le dispositif de pépinière en Tunisie "Ness Elhouma", un programme d'innovation urbaine financé par l'AFD. La pépinière accompagne des initiatives urbaines participatives et créatives adaptées aux besoins des habitants, dans plusieurs quartiers en cours de transformation dans le cadre des Programmes nationaux de réhabilitation et d'intégration des quartiers d'habitat précaires (PRIQH 1 & 2).

le groupement pépiniériste est composé de trois structures 🡪

Humanité & Inclusion (ONG de développement international) - chef de file

Labess (association d'appui aux acteurs tunisiens de l'économie sociale et solidaire)

Kandeel (bureau d'étude sur le développement urbain et la mobilité)

La Tunisie a accueilli la seconde pépinière qui s'est déployée dans plusieurs zones de Tunisie (Grands Tunis et Gabes notamment) aux côtés des projets de réhabilitation des quartiers précaires réalisés par l'Agence de Réhabilitation et de Rénovation Urbaine (ARRU).

La pépinière de Tunisie intervient dans une quinzaine de quartiers en cours de transformation dans le cadre des deux Programmes nationaux de Réhabilitation et d'Intégration des Quartiers d'Habitat populaire (PRIQH 1 et 2)

# data[].attributes.attachment_link.description
Humanité et Inclusion, en partenariat avec le Lab'ess et Kandeel, porte le dispositif de pépinière en Tunisie "Ness Elhouma", un programme d'innovation urbaine financé par l'AFD. La pépinière accompagne des initiatives urbaines participatives et créatives adaptées aux besoins des habitants, dans plusieurs quartiers en cours de transformation dans le cadre des Programmes nationaux de réhabilitation et d'intégration des quartiers d'habitat précaires (PRIQH 1 & 2).

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Abobo - Agueto, Pk18 Plateau sportif, College, Lycée Moderne

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Abobo - Agueto, Pk18 Plateau sportif, College, Lycée Moderne

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Abobo, présente un patrimoine végétal important qui caractérise le quartier. Ils forment des espaces publics végétalisés qualitatifs pourrait en être une des raisons

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Abobo - Agueto, Pk18 Plateau sportif, College, Lycée Moderne

Abobo, présente un patrimoine végétal important qui caractérise le quartier. Ils forment des espaces publics végétalisés qualitatifs pourrait en être une des raisons.

Data

Type of action : unknown

State : Démarrage

Location

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Abobo - Agueto, Pk18 Plateau sportif, College, Lycée Moderne - pepinieres-urbaines.org

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Abobo, présente un patrimoine végétal important qui caractérise le quartier. Ils forment des espaces publics végétalisés qualitatifs pourrait en être une des raisons.

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Casbah oral history: Group of 20 women of all ages, August 2018.

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Résumé de la politique de confidentialité

Ce site utilise des cookies afin que nous puissions vous fournir la meilleure expérience utilisateur possible. Les informations sur les cookies sont stockées dans votre navigateur et remplissent des fonctions telles que vous reconnaître lorsque vous revenez sur notre site Web et aider notre équipe à comprendre les sections du site que vous trouvez les plus intéressantes et utiles.

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Histoire Orale - La Casbah - Ateliers d'Alger (Ad'A)

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Ce site utilise des cookies afin que nous puissions vous fournir la meilleure expérience utilisateur possible. Les informations sur les cookies sont stockées dans votre navigateur et remplissent des fonctions telles que vous reconnaître lorsque vous revenez sur notre site Web et aider notre équipe à comprendre les sections du site que vous trouvez les plus intéressantes et utiles.

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Group of 15 women of all ages, August 2018.

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Résumé de la politique de confidentialité

Ce site utilise des cookies afin que nous puissions vous fournir la meilleure expérience utilisateur possible. Les informations sur les cookies sont stockées dans votre navigateur et remplissent des fonctions telles que vous reconnaître lorsque vous revenez sur notre site Web et aider notre équipe à comprendre les sections du site que vous trouvez les plus intéressantes et utiles.

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Histoire Orale - El Biar - Ateliers d’Alger (Ad’A)

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Résumé de la politique de confidentialité

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Etape 1 : Distribution d’invitations à participer aux différents ateliers de concertation organisés par l’association.

Etape 2 : Rencontre sur site avec les habitants.

Etape 3 : Ateliers dans les locaux de l’association SIDRA.

Etape 4 : Journees de chantier.

Etape 5 : Restitution Publique.

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Etape 1 : Distribution d’invitations à participer aux différents ateliers de concertation organisés par l’association.

Etape 2 : Rencontre sur site avec les habitants.

Etape 3 : Ateliers dans les locaux de l’association SIDRA.

Etape 4 : Journees de chantier.

Etape 5 : Restitution Publique.

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Chantier participatif - El Hamma - Ateliers d'Alger (Ad'A)

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Group of 6 women of all ages, December 2019.

# data[].attributes.attachment_link.readable_text
Résumé de la politique de confidentialité

Ce site utilise des cookies afin que nous puissions vous fournir la meilleure expérience utilisateur possible. Les informations sur les cookies sont stockées dans votre navigateur et remplissent des fonctions telles que vous reconnaître lorsque vous revenez sur notre site Web et aider notre équipe à comprendre les sections du site que vous trouvez les plus intéressantes et utiles.

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Histoire Orale - Belouizdad - Ateliers d’Alger (Ad’A)

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Résumé de la politique de confidentialité

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Group of 20 women of all ages, August 2018.

# data[].attributes.attachment_link.readable_text
Résumé de la politique de confidentialité

Ce site utilise des cookies afin que nous puissions vous fournir la meilleure expérience utilisateur possible. Les informations sur les cookies sont stockées dans votre navigateur et remplissent des fonctions telles que vous reconnaître lorsque vous revenez sur notre site Web et aider notre équipe à comprendre les sections du site que vous trouvez les plus intéressantes et utiles.

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Histoire Orale - Bab El Oued - Ateliers d'Alger (Ad'A)

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Ce site utilise des cookies afin que nous puissions vous fournir la meilleure expérience utilisateur possible. Les informations sur les cookies sont stockées dans votre navigateur et remplissent des fonctions telles que vous reconnaître lorsque vous revenez sur notre site Web et aider notre équipe à comprendre les sections du site que vous trouvez les plus intéressantes et utiles.

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Group of 15 women of all ages, August 2018.

# data[].attributes.attachment_link.readable_text
Résumé de la politique de confidentialité

Ce site utilise des cookies afin que nous puissions vous fournir la meilleure expérience utilisateur possible. Les informations sur les cookies sont stockées dans votre navigateur et remplissent des fonctions telles que vous reconnaître lorsque vous revenez sur notre site Web et aider notre équipe à comprendre les sections du site que vous trouvez les plus intéressantes et utiles.

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Cartographie Sensible - El Biar - Ateliers d'Alger (Ad'A)

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Ce site utilise des cookies afin que nous puissions vous fournir la meilleure expérience utilisateur possible. Les informations sur les cookies sont stockées dans votre navigateur et remplissent des fonctions telles que vous reconnaître lorsque vous revenez sur notre site Web et aider notre équipe à comprendre les sections du site que vous trouvez les plus intéressantes et utiles.

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Groupe de 20 femmes de tous âges, août 2018.

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Résumé de la politique de confidentialité

Ce site utilise des cookies afin que nous puissions vous fournir la meilleure expérience utilisateur possible. Les informations sur les cookies sont stockées dans votre navigateur et remplissent des fonctions telles que vous reconnaître lorsque vous revenez sur notre site Web et aider notre équipe à comprendre les sections du site que vous trouvez les plus intéressantes et utiles.

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Cartographie Sensible - Bab El Oued - Ateliers d'Alger (Ad'A)

# data[].attributes.attachment_link.description
Ce site utilise des cookies afin que nous puissions vous fournir la meilleure expérience utilisateur possible. Les informations sur les cookies sont stockées dans votre navigateur et remplissent des fonctions telles que vous reconnaître lorsque vous revenez sur notre site Web et aider notre équipe à comprendre les sections du site que vous trouvez les plus intéressantes et utiles.

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The participants composed a facade plan of a street in the Casbah using vignettes representing elements of decoration and urban furniture: earthenware tiles, paint, fabrics, planters, vegetation, public lighting, garbage cans, benches.

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Les participantes ont composé un plan de façade d'une rue de la Casbah à l'aide de vignettes représentant des éléments de décoration et de mobilier urbain : carreaux de faïence, peinture, tissus, jardinières, végétation, éclairage public, poubelles, bancs.

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Atelier de projets - Casbah - Ateliers d'Alger (Ad'A)

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Les participantes ont composé un plan de façade d'une rue de la Casbah à l'aide de vignettes représentant des éléments de décoration et de mobilier urbain : carreaux de faïence, peinture, tissus, jardinières, végétation, éclairage public, poubelles, bancs.

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The participants chose from two plot options, the El Abiaria cinema and the old Church of Our Lady of Mount Carmel. They presented a project for the development of community space on a timeline including the planned functions, a short-term weekly program, and the sources of funding envisaged.

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Les participantes ont choisi parmi deux options de parcelles, le cinéma El Abiaria et l'ancienne église Notre-Dame du Mont-Carmel. Elles ont présenté un projet d'aménagement d'espace communautaire sur une frise comprenant les fonctions prévues, un programme hebdomadaire à court terme, et les sources de financement envisagées.

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Atelier de projets - El Biar - Ateliers d'Alger (Ad'A)

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Les participantes ont choisi parmi deux options de parcelles, le cinéma El Abiaria et l'ancienne église Notre-Dame du Mont-Carmel. Elles ont présenté un projet d'aménagement d'espace communautaire sur une frise comprenant les fonctions prévues, un programme hebdomadaire à court terme, et les sources de financement envisagées.

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Group of 6 women of all ages, December 2019.

# data[].attributes.attachment_link.readable_text
Résumé de la politique de confidentialité

Ce site utilise des cookies afin que nous puissions vous fournir la meilleure expérience utilisateur possible. Les informations sur les cookies sont stockées dans votre navigateur et remplissent des fonctions telles que vous reconnaître lorsque vous revenez sur notre site Web et aider notre équipe à comprendre les sections du site que vous trouvez les plus intéressantes et utiles.

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Cartographie Sensible - Belouizdad - Ateliers d'Alger (Ad'A)

# data[].attributes.attachment_link.description
Ce site utilise des cookies afin que nous puissions vous fournir la meilleure expérience utilisateur possible. Les informations sur les cookies sont stockées dans votre navigateur et remplissent des fonctions telles que vous reconnaître lorsque vous revenez sur notre site Web et aider notre équipe à comprendre les sections du site que vous trouvez les plus intéressantes et utiles.

# data[].attributes.attachment_link.readable_text
Résumé de la politique de confidentialité

Ce site utilise des cookies afin que nous puissions vous fournir la meilleure expérience utilisateur possible. Les informations sur les cookies sont stockées dans votre navigateur et remplissent des fonctions telles que vous reconnaître lorsque vous revenez sur notre site Web et aider notre équipe à comprendre les sections du site que vous trouvez les plus intéressantes et utiles.

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Acteurs/Ressources - La Casbah - Ateliers d’Alger (Ad’A)

# data[].attributes.attachment_link.description
Résumé de la politique de confidentialité

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The participants laid out the Square Nelson square using vignettes representing various elements: stalls, street furniture, vegetation.

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Bab el Oued : aménager l’espace public

Les participantes ont aménagé la place Square Nelson à l’aide de vignettes représentant divers éléments : étals, mobilier urbain, végétation.

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Atelier de Projets - Bab el Oued - Ateliers d'Alger (Ad'A)

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Ce site utilise des cookies afin que nous puissions vous fournir la meilleure expérience utilisateur possible. Les informations sur les cookies sont stockées dans votre navigateur et remplissent des fonctions telles que vous reconnaître lorsque vous revenez sur notre site Web et aider notre équipe à comprendre les sections du site que vous trouvez les plus intéressantes et utiles.

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The participants laid out the participatory construction site in El Hamma using a selection of vignettes focusing on street furniture suitable for children. Carried out for the DZign 2020 design biennial, this activity focuses on three bands of the construction site.

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Belouizdad : aménager une nouvelle place publique à El Hamma

Les participant·e·s ont aménagé le site de chantier participatif à El Hamma à l'aide d'une sélection de vignettes centrées sur le mobilier urbain adapté aux enfants. Effectué en vue de la biennale de design DZign 2020, cette activité se concentre sur trois bandes du site de chantier.

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Atelier de projets - Belouizdad - Ateliers d'Alger (Ad'A)

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Les participant·e·s ont aménagé le site de chantier participatif à El Hamma à l'aide d'une sélection de vignettes centrées sur le mobilier urbain adapté aux enfants. Effectué en vue de la biennale de design DZign 2020, cette activité se concentre sur trois bandes du site de chantier.

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As part of these neighborhood workshops, the actors/resources activity is supported by a SWOT analysis table ( Strengths , Weaknesses , Opportunities , Threats ). This exercise makes it possible to identify the elements of strength and weakness internal and external to the district: the quality of housing, ease of access, the presence of collective services and infrastructures, the feeling of security and neighborhood relations.

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Lors de notre session pilote d’ateliers de quartier en août 2018, plusieurs ateliers de concertation ont été menés avec des résidentes de trois quartiers algérois : La Casbah, El Biar et Bab el Oued.

Dans le cadre de ces ateliers de quartier, l’activité acteurs/ressources a pour support un tableau d’analyse SWOT (Strengths, Weaknesses, Opportunities, Threats). Cet exercice permet de repérer les éléments de force et de faiblesse internes et externes au quartier : la qualité du logement, la facilité d’accès, la présence de service collectifs et d’infrastructures, le sentiment de sécurité et les relations de voisinage.

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Acteurs/Ressources - Bab El Oued - Ateliers d'Alger (Ad'A)

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Lors de notre session pilote d'ateliers de quartier en août 2018, plusieurs ateliers de concertation ont été menés avec des résidentes de trois quartiers algérois : La Casbah, El Biar et Bab el Oued. Dans le cadre de ces ateliers de quartier, l'activité acteurs/ressources a pour support un tableau d'analyse SWOT ( Strengths, Weaknesses, Opportunities, Threats).

# data[].attributes.body
As part of these neighborhood workshops, the actors/resources activity is supported by a SWOT analysis table ( Strengths , Weaknesses , Opportunities , Threats ). This exercise makes it possible to identify the elements of strength and weakness internal and external to the district: the quality of housing, ease of access, the presence of collective services and infrastructures, the feeling of security and neighborhood relations.

# data[].attributes.attachment_link.readable_text
Lors de notre session pilote d'ateliers de quartier en août 2018, plusieurs ateliers de concertation ont été menés avec des résidentes de trois quartiers algérois : La Casbah, El Biar et Bab el Oued.

Dans le cadre de ces ateliers de quartier, l'activité acteurs/ressources a pour support un tableau d'analyse SWOT ( Strengths, Weaknesses, Opportunities, Threats). Cet exercice permet de repérer les éléments de force et de faiblesse internes et externes au quartier : la qualité du logement, la facilité d'accès, la présence de service collectifs et d'infrastructures, le sentiment de sécurité et les relations de voisinage.

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Acteurs/Ressources - El Biar - Ateliers d'Alger (Ad'A)

# data[].attributes.attachment_link.description
Lors de notre session pilote d'ateliers de quartier en août 2018, plusieurs ateliers de concertation ont été menés avec des résidentes de trois quartiers algérois : La Casbah, El Biar et Bab el Oued. Dans le cadre de ces ateliers de quartier, l'activité acteurs/ressources a pour support un tableau d'analyse SWOT ( Strengths, Weaknesses, Opportunities, Threats).

# data[].attributes.body
As part of these neighborhood workshops, the actors/resources activity is supported by a SWOT analysis table ( Strengths , Weaknesses , Opportunities , Threats ). This exercise makes it possible to identify the elements of strength and weakness internal and external to the district: the quality of housing, ease of access, the presence of collective services and infrastructures, the feeling of security and neighborhood relations.

# data[].attributes.attachment_link.readable_text
Lors de notre session pilote d’ateliers de quartier en août 2018, plusieurs ateliers de concertation ont été menés avec des résidentes de trois quartiers algérois : La Casbah, El Biar et Bab el Oued.

Dans le cadre de ces ateliers de quartier, l’activité acteurs/ressources a pour support un tableau d’analyse SWOT (Strengths, Weaknesses, Opportunities, Threats). Cet exercice permet de repérer les éléments de force et de faiblesse internes et externes au quartier : la qualité du logement, la facilité d’accès, la présence de service collectifs et d’infrastructures, le sentiment de sécurité et les relations de voisinage.

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Acteurs/Ressources - Bab El Oued - Ateliers d'Alger (Ad'A)

# data[].attributes.attachment_link.description
Lors de notre session pilote d'ateliers de quartier en août 2018, plusieurs ateliers de concertation ont été menés avec des résidentes de trois quartiers algérois : La Casbah, El Biar et Bab el Oued. Dans le cadre de ces ateliers de quartier, l'activité acteurs/ressources a pour support un tableau d'analyse SWOT ( Strengths, Weaknesses, Opportunities, Threats).

# data[].attributes.body
As part of these neighborhood workshops, the actors/resources activity is supported by a SWOT analysis table ( Strengths , Weaknesses , Opportunities , Threats ). This exercise makes it possible to invoke the elements of strength and weakness internal and external to the district: the quality of housing, ease of access, the presence of collective services and infrastructures, the feeling of security and neighborhood relations.

# data[].attributes.attachment_link.readable_text
Entre août et décembre 2019, plusieurs ateliers de concertation ont été menés dans la commune de Belouizdad, en marge du premier chantier pariticpatif d'aménagement d'une place publique à El Hamma (commune de Belouizdad).

Dans le cadre de ces ateliers de quartier, l'activité acteurs/ressources a pour support un tableau d'analyse SWOT ( Strengths, Weaknesses, Opportunities, Threats). Cet exercice permet d'invoquer les éléments de force et de faiblesse internes et externes au quartier : la qualité du logement, la facilité d'accès, la présence de service collectifs et d'infrastructures, le sentiment de sécurité et les relations de voisinage.

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Acteurs/Ressources - El Hamma - Ateliers d'Alger (Ad'A)

# data[].attributes.attachment_link.description
Entre août et décembre 2019, plusieurs ateliers de concertation ont été menés dans la commune de Belouizdad, en marge du premier chantier pariticpatif d'aménagement d'une place publique à El Hamma (commune de Belouizdad). Dans le cadre de ces ateliers de quartier, l'activité acteurs/ressources a pour support un tableau d'analyse SWOT ( Strengths, Weaknesses, Opportunities, Threats).

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ESPACE DE RENCONTRES AU SERVICE DE LA COMMUNAUTE DU COLLECTIF, DE LA COMMUNAUTE LOCALE DE JEUNES ET DES ASSOCIATIONS DE LA MEDINA, DAR EL COLLECTIF PERMET LA DEMOCRATISATION DES METIERS CREATIFS ET DU DESIGN. IL MET A DISPOSITION DE LA COMMUNAUTE LOCALE ET DES ETUDIANT.ES DESIGNERS UN ESPACE DE COWORKING, UN ESPACE D’EXPOSITION ET DE RENCONTRE DANS L’OBJECTIF DE PORTER APPUI A LA SCENE ARTISTIQUE ET CREATIVE LOCALE, DAR EL COLLECTIF ORGANISE DES ATELIERS DE DESIGN PRODUIT/MATIERE ET DE DESIGN NUMERIQUE TOUT EN PROPOSANT UN ESPACE DE RESIDENCE ARTISTIQUE ET UN STUDIO AUDIOVISUEL.

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ESPACE DE RENCONTRES AU SERVICE DE LA COMMUNAUTE DU COLLECTIF, DE LA COMMUNAUTE LOCALE DE JEUNES ET DES ASSOCIATIONS DE LA MEDINA, DAR EL COLLECTIF PERMET LA DEMOCRATISATION DES METIERS CREATIFS ET DU DESIGN. IL MET A DISPOSITION DE LA COMMUNAUTE LOCALE ET DES ETUDIANT.ES DESIGNERS UN ESPACE DE COWORKING, UN ESPACE D'EXPOSITION ET DE RENCONTRE DANS L'OBJECTIF DE PORTER APPUI A LA SCENE ARTISTIQUE ET CREATIVE LOCALE, DAR EL COLLECTIF ORGANISE DES ATELIERS DE DESIGN PRODUIT/MATIERE ET DE DESIGN NUMERIQUE TOUT EN PROPOSANT UN ESPACE DE RESIDENCE ARTISTIQUE ET UN STUDIO AUDIOVISUEL.

*

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ESPACE DE RENCONTRES AU SERVICE DE LA COMMUNAUTE DU COLLECTIF, DE LA COMMUNAUTE LOCALE DE JEUNES ET DES ASSOCIATIONS DE LA MEDINA, DAR EL COLLECTIF PERMET LA DEMOCRATISATION DES METIERS CREATIFS ET DU DESIGN.

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INTERFERENCE : PORTE PAR LE COLLECTIF, IT TUNIS EST UN FESTIVAL D’ART DE LUMIERES. IT TUNIS, FAVORISE LE CROISEMENT DE PLUSIEURS COMMUNAUTES, JEUNES ARTISTES, MEDIATEURS ARTISTIQUES, ASSISTANT.ES ARTISTIQUES, JEUNES DE LA MEDINA, DANS LE PROCESSUS DE PRODUCTION D’INSTALLATIONS NUMERIQUES. IT TUNIS A PERMIS LA REINSERTION PROFESSIONNELLE DE JEUNES DE LA MEDINA A TRAVERS LA FORMATION EN METIERS DE SUPPORTS ARTISTIQUES ET A TRAVERS L’APPUI AUX ARTISTES EMERGENT.ES.

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INTERFERENCE : PORTE PAR LE COLLECTIF, IT TUNIS EST UN FESTIVAL D'ART DE LUMIERES. IT TUNIS, FAVORISE LE CROISEMENT DE PLUSIEURS COMMUNAUTES, JEUNES ARTISTES, MEDIATEURS ARTISTIQUES, ASSISTANT.ES ARTISTIQUES, JEUNES DE LA MEDINA, DANS LE PROCESSUS DE PRODUCTION D'INSTALLATIONS NUMERIQUES. IT TUNIS A PERMIS LA REINSERTION PROFESSIONNELLE DE JEUNES DE LA MEDINA A TRAVERS LA FORMATION EN METIERS DE SUPPORTS ARTISTIQUES ET A TRAVERS L'APPUI AUX ARTISTES EMERGENT.ES.

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INTERFERENCE : PORTE PAR LE COLLECTIF, IT TUNIS EST UN FESTIVAL D'ART DE LUMIERES. IT TUNIS, FAVORISE LE CROISEMENT DE PLUSIEURS COMMUNAUTES, JEUNES ARTISTES, MEDIATEURS ARTISTIQUES, ASSISTANT.ES ARTISTIQUES, JEUNES DE LA MEDINA, DANS LE PROCESSUS DE PRODUCTION D'INSTALLATIONS NUMERIQUES.

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LE MAKER SPACE EST UNE PEPINIERE DE D’EXPERIMENTATION EN DESIGN AU CŒUR DE LA MEDINA. OUVERT ET INCLUSIF, IL ACCUEILLE PLUS QUE 15 JEUNES DESIGNERS, ARTISTES ET CREATIVES PAR MOIS POUR LES ACCOMPAGNER DANS LA CONCRETISATION DE LEURS IDEES. LE MAKER SPACE COMPTE ACTUELLEMENT UN RESEAU DE 74 JEUNES DESIGNERS, ARTISTES ET CREATIF.VES ; C’EST UN PROJET LANCE ET TENU GRACE AUX RESSOURCES HUMAINES ET FINANCIERES PROPRES DU COLLECTIF. CE PROJET MEME DEVELOPPE UN MODELE ECONOMIQUE HYBRIDE, QUI SERVIRA A MAINTENIR SES ACTIVITES VIABLES ET SON IMPACT A LONG TERME.

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LE MAKER SPACE EST UNE PEPINIERE DE D'EXPERIMENTATION EN DESIGN AU CŒUR DE LA MEDINA. OUVERT ET INCLUSIF, IL ACCUEILLE PLUS QUE 15 JEUNES DESIGNERS, ARTISTES ET CREATIVES PAR MOIS POUR LES ACCOMPAGNER DANS LA CONCRETISATION DE LEURS IDEES. LE MAKER SPACE COMPTE ACTUELLEMENT UN RESEAU DE 74 JEUNES DESIGNERS, ARTISTES ET CREATIF.VES ; C'EST UN PROJET LANCE ET TENU GRACE AUX RESSOURCES HUMAINES ET FINANCIERES PROPRES DU COLLECTIF. CE PROJET MEME DEVELOPPE UN MODELE ECONOMIQUE HYBRIDE, QUI SERVIRA A MAINTENIR SES ACTIVITES VIABLES ET SON IMPACT A LONG TERME.

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LE MAKER SPACE EST UNE PEPINIERE DE D'EXPERIMENTATION EN DESIGN AU CŒUR DE LA MEDINA. OUVERT ET INCLUSIF, IL ACCUEILLE PLUS QUE 15 JEUNES DESIGNERS, ARTISTES ET CREATIVES PAR MOIS POUR LES ACCOMPAGNER DANS LA CONCRETISATION DE LEURS IDEES.

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EL WARCHA : PORTE PAR LE COLLECTIF, EL WARCHA EST UN ATELIER DE DESIGN COLLABORATIF A LA HAFSIA ET A NEFTA QUI A POUR VOCATION LA PROMOTION DE L’EDUCATION ET LES PRATIQUES CIVIQUES A TRAVERS LA REALISATION DE MOBILIER URBAIN ET ECOLOGIQUE ET D’INSTALLATIONS ARTISTIQUES AVEC LES HABITANTS LOCAUX DE LA HAFSIA ET EN PARTICULIER LES JEUNES.

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EL WARCHA : PORTE PAR LE COLLECTIF, EL WARCHA EST UN ATELIER DE DESIGN COLLABORATIF A LA HAFSIA ET A NEFTA QUI A POUR VOCATION LA PROMOTION DE L'EDUCATION ET LES PRATIQUES CIVIQUES A TRAVERS LA REALISATION DE MOBILIER URBAIN ET ECOLOGIQUE ET D'INSTALLATIONS ARTISTIQUES AVEC LES HABITANTS LOCAUX DE LA HAFSIA ET EN PARTICULIER LES JEUNES.

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EL WARCHA : PORTE PAR LE COLLECTIF, EL WARCHA EST UN ATELIER DE DESIGN COLLABORATIF A LA HAFSIA ET A NEFTA QUI A POUR VOCATION LA PROMOTION DE L'EDUCATION ET LES PRATIQUES CIVIQUES A TRAVERS LA REALISATION DE MOBILIER URBAIN ET ECOLOGIQUE ET D'INSTALLATIONS ARTISTIQUES AVEC LES HABITANTS LOCAUX DE LA HAFSIA ET EN PARTICULIER LES JEUNES.

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FANTEK : LE PROJET FANTEK A MIS EN PLACE UN ATELIER D’ART NUMERIQUE DEPUIS LE LANCEMENT DU PROJET EN 2018. ACTUELLEMENT, FANTEK EST PORTE PAR UN GROUPE DE JEUNES (18 - 32) ET QUI N’ONT PAS ACCES A DES FORMATIONS DE POINTE EN ARTS NUMERIQUES. ON CE MOMENT UNE EQUIPE DE CES JEUNES TRAVAILLENT DANS LA THEMATIQUE DE L’ART NUMERIQUE ET SON CROISEMENT AVEC LA CARTOGRAPHIE SONORE.

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FANTEK : LE PROJET FANTEK A MIS EN PLACE UN ATELIER D'ART NUMERIQUE DEPUIS LE LANCEMENT DU PROJET EN 2018. ACTUELLEMENT, FANTEK EST PORTE PAR UN GROUPE DE JEUNES (18 - 32) ET QUI N'ONT PAS ACCES A DES FORMATIONS DE POINTE EN ARTS NUMERIQUES. ON CE MOMENT UNE EQUIPE DE CES JEUNES TRAVAILLENT DANS LA THEMATIQUE DE L'ART NUMERIQUE ET SON CROISEMENT AVEC LA CARTOGRAPHIE SONORE.

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FANTEK : LE PROJET FANTEK A MIS EN PLACE UN ATELIER D'ART NUMERIQUE DEPUIS LE LANCEMENT DU PROJET EN 2018. ACTUELLEMENT, FANTEK EST PORTE PAR UN GROUPE DE JEUNES (18 - 32) ET QUI N'ONT PAS ACCES A DES FORMATIONS DE POINTE EN ARTS NUMERIQUES.

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Communities in Nairobi Compete to Contribute to Public Space

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Communities in Nairobi Compete to Contribute to Public Space

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Public spaces have long been an afterthought in the informal settlements of African cities, where public spaces are prone to land grabbing and authorities have other socioeconomic challenges to deal with. This pervasive lack of clean and maintained public spaces, coupled with densely populated informal settlements, inadequate sanitation, little waste management, and limited access to healthcare have led to hazardous health conditions, now magnified by the COVID-19 pandemic.

However, for many years, communities in Nairobi, Kenya, continue to show their resilience in the face of these conditions. They are banding together to reclaim the public spaces in their communities using placemaking methods that are light, quick, and cheap to provide a clean and safe environment for residents to enjoy.

What better way to generate new ideas, build community, and encourage civic engagement than a little friendly competition? The Changing Faces Competition (CFC) in Nairobi, organized by the Public Space Network (PSN), engaged 114 community groups from all over the city, mostly from low-income neighborhoods, to transform neglected spaces into vibrant, safe, and healthy community places.

Miki Takeshita, a Transportation Intern here at Project for Public Spaces, talked to Anna Tehlova, co-founder of the Public Space Network and coordinator of the Competition, and Evans Otieno, a youth leader who has been involved with transformative placemaking in his community of Dandora since 2015. Evans has participated in every edition of the Changing Faces Competition.
Miki Takeshita: First, please tell me a little about yourself and what gets you excited about cities.
Anna Tehlova: I'm Anna Tehlova and my background is in urban studies. My passion for urban issues in the context of Africa, which is currently the least urbanized but fastest urbanizing region in the world, led me to become the co-founder of the Public Space Network, a nonprofit association in Nairobi that brings together a diverse range of stakeholders around community-driven public space management.

Facing such rapid population growth and so many Nairobians living under the poverty line in informal settlements, public authorities have other urgent issues to pay attention to than ensuring access to quality public spaces to all their citizens. However, quality public spaces have a demonstrated impact on the quality of people's lives in terms of health and safety, as well as access to an improved economy and environment.

This is why I decided to join and support the nascent community efforts to create a more livable urban environment, especially in the lower-income neighborhoods. In addition to having very limited public resources, these communities face an urgent need for creative solutions to ensure sustainable urban development and good living standards for their growing urban population.

Evans Otieno: My name is Evans Otieno and I'm a community mobilizer. I've been a member of the Dandora Transformation League since 2015 and have participated in all of the Changing Faces Competitions. What excites me about cities is seeing clean, green, and safe spaces.
Miki. Tell us about the Changing Faces Competition. How did the idea for it come about, and why did you choose to use a "lighter, quicker, cheaper" approach?
Anna: The idea for the Changing Faces Competition came from the two founders of the Dandora Transformation League (DTL), a community-based organization in Dandora, a low-income community in Nairobi. DTL is the founding member group of PSN and an umbrella organization for youth groups that transform and maintain open spaces in the neighborhood, commonly known as courtyards. After one of the youth groups, called Mustard Seeds, initiated the transformation of a site that used to be covered with garbage into a community garden and playground in 2013, Charles and Robinson, DTL's CEO and Chairman respectively, wanted to engage other youth groups in transforming their own spaces and provide clean and green spaces for the community.

They came up with the idea of a competition as a fun way to mobilize the youth groups in the neighborhood around light, quick, and cheap public space transformations and to foster lasting community ownership of public spaces. The participating teams also identified income-generating activities related to the maintenance of the space to ensure the long-term maintenance of the space and generate income for unemployed youth. For example, some groups have organized waste collection and clean-up in exchange for small regular contributions from the residents living around the transformed spaces (around $1 USD per month per household), while others have created multifunctional spaces that serve as playgrounds during the day and paid parking at night ($2 USD per car, per night).

After 3 successful competitions in the Dandora neighborhood from 2014 to 2017, mobilizing over 3,000 youths to transform 120 spaces, PSN took the lead in scaling up the initiative to the whole city, leveraging its citywide network of members and partners. In the 2018-19 Changing Faces Competition, 114 community groups across Nairobi transformed 114 spaces into inclusive community places through placemaking.
Miki: What were the challenges that you faced when growing the competition from a local to a citywide scale?
Anna: The biggest challenge has been to secure funding. We had so many ideas about how we could use the citywide Changing Faces Competition as a massive awareness-raising campaign, organizing parallel sports and cultural events such as soccer tournaments for participating teams. But such a big event requires a big budget to cover coordination and marketing. Even though a few companies were interested in sponsoring the event, the private sector mostly wanted to give in-kind donations, such as the materials for a public space transformation. We eventually decided to go ahead with a smaller budget, relying mostly on volunteers and a communication strategy based on social media and word of mouth.

The key to successfully implementing the event was the community champions. We recruited 35 young community activists, who were the point people in their respective areas, responsible for engaging local public authorities, and for recruiting, mentoring, and supervising the teams. It was an intense couple of months for the coordination team, which was mostly made up of volunteers, but the initiative was successful and proved that the lighter, quicker, and cheaper public space transformations can have an enormous impact.

Miki: What were some lessons that you learned from this competition?
Anna: As the competition's coordinator, I learned that fundraising does not need to be the number one priority to ensure success. If I were to do it again, I would invest more time in training the participating teams on lighter, quicker, cheaper methods of placemaking, rather than fundraising.

Evans: I think it demonstrated that competition is the best tool to mobilize the community. When we compete, new ideas are created.

Miki: Have you observed changes within your community as a result of this placemaking effort? How do you plan on keeping the momentum going?
Evans: Yes, I've seen a lot of changes in the community. Children now have spaces to play, and we have parks in the community that we didn't have before. We're continuing to mobilize youth to take ownership of public spaces and transform them, and to maintain the ones we have already transformed.

Miki: Do you have plans for the competition's long-term sustainability?
Anna: The competition is a mobilization tool and the transformations won't end with the end of the competition. The long-term sustainability of the space transformations relies mostly on community groups taking ownership for their spaces and being aware how they can play an active role. We are happy to observe that many groups who took part have been inspired to keep going.

We also developed the Placemaking Toolkit: Guide to a Community-driven, Low-Cost Public Space Transformation to empower community groups to transform their spaces-inside or outside of the competition framework. The aim of this toolkit has been to share our experience with anybody who wants to replicate our approach, whether it is in Nairobi, Kenya, or anywhere else.
Miki: What's your vision for Nairobi and its public spaces?
Anna: Through my work with the Public Space Network, I realized that community groups are the key actors in reclaiming and transforming their public spaces. My wish is for more community groups to continue joining the placemaking movement that we have aimed to initiate with the Network, and to take an active role in transforming their small-scale public open spaces from dirty spaces filled with garbage into community places, like playgrounds and parks. To maximize the impact of the community-driven public space transformation, I hope that public authorities and the private sector will support these communities more actively with the resources they need even for creative, low-cost transformations.

Evans: My vision for Nairobi is to transform each and every public space into a clean, green, vibrant, and safe place for the community.
Miki: Do you have any advice for people who might be looking into organizing their own competition or starting their own group to reclaim public spaces in their community?
Evans: Be passionate, focused, and work as a team. Always involve the community. Start by doing what's possible, follow by doing what's necessary, and before you know it, you will be doing the impossible.

Anna: For people who want to start their own competition: think carefully about how you use your resources. Rather than organizing a glamorous event, ensure that the participating teams have all the tools and knowledge they need to successfully transform and maintain their spaces beyond the competition. The mentorship of the participating teams is the key to success and sustainability.

For those who want to start their own public space transformation: make sure to involve your community in the transformation process to avoid conflicts and to meet the needs and wishes of the community. Organize a meeting, seek ideas, and let everybody participate!
Miki: Do you have any final words for our readers?
Anna: I want to recognize the hard work of all the community champions who mobilized teams during the Nairobi-wide Changing Faces Competition. Especially in the neighborhoods where such a community-driven approach to public space transformation is completely new, it's challenging in the beginning to ensure public authorities and the whole community supports the transformations, but those that were not afraid of challenges proved that the hard work is worth it.

I want to give a shoutout especially to Nashon Pambo Kitegi from Kibra, as well as Samuel Omare and Samuel Odamo from Kayole, who introduced the concept of community-driven public space transformation to their neighborhoods and who continue championing this cause beyond the competition. I'd also like to say thanks to Charles Gachanga, CEO of Dandora Transformation League, and Evans Otieno, an executive team member of Dandora Transformation League, who managed to completely change the face of the Dandora neighborhood and mentor the new placemaking champions from other parts of the city.

Evans: I want to give a shoutout to all the public space lovers and environmentalists out there.
To learn more about Nairobi's Public Space Network, visit publicspacenetwork.org or contact them directly at partners@publicspacenetwork.org.
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Communities in Nairobi Compete to Contribute to Public Space

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Public spaces have long been an afterthought in the informal settlements of African cities, where public spaces are prone to land grabbing and authorities have other socioeconomic challenges to deal with. This pervasive lack of clean and maintained public spaces, coupled with densely populated informal settlements, inadequate sanitation, little waste management, and limited access to healthcare have led to hazardous health conditions, now magnified by the COVID-19 pandemic.

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Stone-Filled Elephant Sculptures Finally Rise in Durban

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Stone-Filled Elephant Sculptures Finally Rise in Durban

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Six years after being commissioned, artist Andries Botha has finally unveiled his huge elephant sculptures made out of wire frames filled with stones. Emerging out of a freeway island in Durban, South Africa, the artwork is made of galvanized steel armature with stainless steel mesh and filled with rocks from a local quarry. The sculptures were meant to be completed ahead of the 2010 FIFA World Cup, but in February 2010, just two weeks from completion, the artist was told to stop by the African National Congress (ANC) because they believed the elephants were too similar to the Inkatha Freedom Party's logo.

While the city decided on whether the artist could complete the sculptures, vandals destroyed the artwork by splashing red paint all over it and by removing the metal wiring, causing the rocks to fall out. Originally there were three elephant sculptures, one had been destroyed by vandals and the other two had been partially damaged. Determined to finish the project, the artist decided to add a fourth elephant that would be in line with the original concept. This would cause some differentiation from the IFP logo. He began to rebuild in 2014. As the artist stated, "The fourth elephant... will be free-standing and rise from the ground. It will be surrounded by three elephants (emerging from) the ground in different poses. (The sculpture symbolizes) the rebirth of elephants. Historically, elephants roamed this area before they were killed by hunters."

The official opening ceremony is scheduled for sometime this month. The date has not yet been set. On his website, the artist wrote a heartfelt "thank you" letter to those that supported his vision. Here's a section: "May I take this opportunity to address the most important aspect of the success that we have gained in the so-called 'Elephant Saga' in Durban. In hindsight it is completely evident to me that the victory in securing the rebuilding of the elephants is an example of a multi-layered advocacy that does not include one person, but many. I have personally been encouraged and taken heart from the many supporters that have spoken passionately and articulately about the tragedy of the Durban Elephants. You are all too many to name, those of you who have loyally supported the social networks and spoken your strong and articulate views about the on-going saga between myself and the eThekwini municipality.

"I would like to unreservedly thank you for your support in securing this important legal decision on behalf of the freedom of speech, the right for the public to have access to creativity and last, but not least, the moral authority of a work of art as a piece of intellectual property that is so adequately protected by our constitution. You have all played a most significant and important part in this significant victory. It is also now true that the elephants have now truly become part of the public property and ownership."

What a beautiful piece of public art.
Andries Botha's website

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Stone-Filled Elephant Sculptures Finally Rise in Durban

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Six years after being commissioned, artist Andries Botha has finally unveiled his huge elephant sculptures made out of wire frames filled with stones. Emerging out of a freeway island in Durban, South Africa, the artwork is made of galvanized steel armature with stainless steel mesh and filled with rocks from a local quarry.

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Street Art: revamping urban youth participation in West Africa

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Street Art: revamping urban youth participation in West Africa

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Street Art Together is an awareness raising activity designed for and by young people to meet, socialize, and express themselves in public spaces. Through co-creation, participative street art addresses their needs and challenges while sparking their creativity.

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West Africa is a region that urbanizes at a rapid pace. This has an impact on its youth, which became clear during the pandemic when options to meet and interact outdoors decreased . Yet, it's those young people who should be the driver s behind change and actively participate in shaping their own future.

"Young people are on the frontlines of the struggle to build a better future for all. The COVID-19 pandemic has highlighted the dire need for the kind of transformational change they seek - and young people must be full partners in that effort" says UN Secretary-General António Guterres.

Today, on International Youth Day, we highlight solutions developed by young artists and migrants to address challenges like urbanization. Street Art Together is an awareness raising activity designed for and by young people to meet, socialize, and express themselves in public spaces. Through co-creation, participative street art addresses their needs and challenges while sparking their creativity.

The project , developed by IOM in West and Central Africa and i s a series of free, participative painting workshops organised in public urban areas and facilitated by local youth, artists and returned migrants. Together with community members and using simple techniques and materials, Street Art Together participants co-create colou r ful murals that lighten up neglected areas of West African cities. Street Art Together is also a space for young people to interact with their communities on topics like risks of irregular migration and local opportunities, starting in their own neighbo u rhoods .
The start of a colourful journey
In October 2019, prior to the pandemic , IOM Niger launched the pilot phase of the Street Art activities to support the youth and strengthen social cohesion within their communities. A first round of workshops was organized in Niamey and in Agadez. Over four weeks, street artists trained returnees, migrants in transit and local artists in organizing participative street art interventions. Using only locally available materials, such as paint instead of spray cans, and simple, geometric shapes, the teams livened up the streets of Niger with help from curious onlookers.

"It's nice to see the effect one afternoon can have on people," said Donald, a migrant in transit from Cameroon. "This may not be my city, but it's a great opportunity to make it beautiful for others and to create friendships along the way."

Out of this pilot grew the distinct participative street art methodology, designed to teach anybody, regardless of skill and previous experience, how to become a facilitator of street art activities.

The initiative allows participants to exchange views and sometimes change mentalities on migration within their community. Like many concepts in West African societies, certain "migration stereotypes" often remain masculine. In order to denounce this and to allow female points of view enter the collective memory of a community, female volunteers started using Street Art Together as a podium to challenge the minds of their community.

Migrants as Messengers Volunteers and local artists created a colo u rful mural at a migration centre under the theme "One woman, one image ". With this mural they intend to raise awareness about gender -based violence, and how this can be a push factor for many to pursu e irregular migration. it ca n be manifested during irregular migration journeys.

Volunteer Mariam shared her story hoping it could impact her surroundings. "My experience made me realize that there was a pattern of women being placed in very dangerous positions," she explains. "Through Street Art Together I am able to create the image of confidence and strength to encourage myself to find joy and happiness in my country and within my community."

Everyone can paint Street Art Together workshop; "I was just passing by when I saw this beautiful artwork in the making. I am a first aid worker, but I happily joined the activity. One would say that this mural is made by artists, but the truth is that it is made by people like me just passing by"", says Abdou from Senegal.

Moustapha Badiane, a Senegalese painter is happy to the spotlight with all the people who contributed: "It's not the work of one or more artists, it's the work of a whole community. I think everyone put a little bit of themselves into it, the kids, the girls, the volunteers... everyone is here. It's the work of all of us."

From its beginnings, Street Art Together turned city walls into the canvas of creative expression within communities. In The Gambia, workshops were organised inside the Migration Information Centre in Basse, Upper River Region. Aside from being an avenue to build cohesion and collaboration among youth, the workshops resulted in a vibrant, modern , and memorable backdrop for the centre - aimed at attracting young people to maximize engagement within the space.

, on c o m m u n i t y engagement , launched on International Youth Day to highlight the power that young people have in effectin g positiv e change in their community. The portal , developed by IOM under the EUTF Joint Initiative, contains digital modules allowing young people and awareness raising practitioners working on migration, to learn and conduct a Street Art Together workshop wherever they seem fit.

IOM is eager to create a network of young people, returnees , and street artists across West and Central Africa, united in their quest to bring important migration messages through their own experience and interpretation.

The walls painted through Street Art Together in Côte d'Ivoire, Ghana, The Gambia, Guinea Bissau, Guinea Conakry, Mauritania, Niger, Senegal and Sierra Leone are a first step in the right direction. Now we're passing the brush and paint over to youth regionwide to continue the job. Street art can be a way for young people to claim their own "space ", imagine solutions and shape a colourful future.

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Street Art: revamping urban youth participation in West Africa

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Migrants as Messenger took the International Youth Day as an opportunity to launch the new Street Art Together portal! Discover how this innovative community engagement activity developed by IOM and Street Art Sans Frontières made its way from the desert in Agadez to the coast of West Africa; and who knows even further?

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Initially it was purely a means to interact with the surrounding communities, while also drumming up tourism. But an idea soon emerged: to transform the entire village of Kubuneh into a living art installation that would generate income for the community and guarantee its future.

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What's the first place that springs to mind when you think 'Graffiti Mecca?' East London? Brooklyn? Kreuzberg? How about the village of Kubuneh? Or Galoya? Probably not. These rural villages in The Gambia have become an international graffiti phenomenon featuring artworks from some of the world's best street artists.

The Gambia is the mouth to Senegal's Pac Man: engulfed on three sides, this former British colony runs parallel to the Gambia river in West Africa. For years, tourists have flocked to its white-sandy beaches and its fauna-rich wetlands. Now, attractions include car-sized caterpillars, two-headed dogs, and giant porcupines, as what started out as a small, local project has evolved into Africa's version of New York's fabled 5 Pointz.

The roots of the project can be traced to an industry tourism event during which Gambian-based British lodge owner and keen amateur artist Lawrence Williams met local artist Njogu Touray. The duo formed an artistic collective called the Bush Dwellers, and began working with stencils and large canvasses in the villages around Williams' lodge.

Initially it was purely a means to interact with the surrounding communities, while also drumming up tourism. But an idea soon emerged: to transform the entire village of Kubuneh into a living art installation that would generate income for the community and guarantee its future. In 2009, Williams received consent from the village elders of the Ballabu Conservation Area, and the Wide Open Walls project was born.

Professional graffiti is usually associated with urban landscapes, with street artists understandably wanting their work to be seen. But in 2011, renowned street artists from as far and wide as Belgium, Israel, and the U.S. swapped their urban canvasses for the mud and concrete of Kubuneh.

The impetus came in the form of Brighton-based street artist Eelus. Williams had emailed him a year earlier, and Eelus coordinated a group of artists to venture to The Gambia. The lure was not notoriety, but the idea of making a lasting impact on the villagers' lives.

One of those to answer the call was London-based street artist David Shillinglaw, whose decision to come was based on community. He acknowledged that, 'Being given the consent to have creative freedom on someone's home is incredible... but to know that I am also working on a project that has the potential to benefit the community is absolutely priceless.'

Over the course of a few weeks, the group transformed the village into a gallery. Taking inspiration as much from their environment as the villagers themselves, they decorated homes, schools, and trees with murals of peace, community, and wildlife. Artists have been coming back to the villages ever since.

It's hard to quantify the effects of the project, but if there is one certainty it is that Wide Open Walls has put these villages on the map. This has led to an increase in tourism to Williams' luxury lodges, allowing them to expand and offer more job opportunities to young villagers who might otherwise have headed west to Banjul in search of better economic prospects.

Meanwhile, the murals have left their mark on the villages in more ways than one. As part of the project, artists held workshops for local children, while older villagers have begun to mirror the techniques they learned from the artists. Even the village elders have contributed to the works, with British duo Best Ever's mural of a man lying adjacent, featuring the words of a village elder: 'I work carefully to open my heart'.

However, some villagers feel they are not benefiting enough from having giant zebras or frogs on their homes with the promise of a nursery and visitor centre having not yet materialised. Ultimately, time will tell, but for the present this previously little-known part of The Gambia is receiving international attention. And deservedly so.

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The Incredible Story of The Gambia's Graffiti Villages

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What's the first place that springs to mind when you think 'Graffiti Mecca?' East London? Brooklyn? Kreuzberg? How about the village of Kubuneh? Or Galoya? Probably not. These rural villages in The Gambia have become an international graffiti phenomenon featuring artworks from some of the world's best street artists.

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Building a Peaceful Africa Through Arts, Culture and Heritage

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Building a Peaceful Africa Through Arts, Culture and Heritage

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Nicholas Songora Odoll, the executive director of Manyatta Youth Entertainment Cbo, said that contemporary African artists and cultural activists are redefining and “enhancing African identity” as they connect with and reflect their communities.

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Assil Diab's mural of Sudanese people from different tribes all wearing masks saying "stay at home" in their own dialects. The mural won a dissemination award from UNESCO in 2020.

On June 30, USIP convened a rich discussion with the AU Commission, AU Mission and African diplomatic corps in Washington, senior U.S. government officials and African artists and activists to explore the critical link between the arts and peacebuilding.

While art, culture, and heritage may not seem directly connected to peacebuilding at first glance, Chioma Agwuegbo, the executive director of TechHerNG, said it's vital that peacebuilders take into consideration the language, religion and culture of those they seek to engage. Utilizing a community's art, therefore, is key to understanding their needs and designing effective problem-solving approaches.

Engaging Youth and Women Is Critical

While many studies have revealed that peace processes are more successful when they are inclusive of women and youth - who bear the brunt of conflict - these sectors of society continue to be excluded or ignored in most peacebuilding efforts.

Agwuegbo said policymakers need to be "intentional" in bringing these sectors of society - including women, youth, persons with disabilities and other marginalized groups - into the peace process, and that celebrating expressions of art and identity can be a powerful tool for doing so.

Redefining African Identify and the Explosion of Digital Platforms

Nicholas Songora Odoll, the executive director of Manyatta Youth Entertainment Cbo, said that contemporary African artists and cultural activists are redefining and "enhancing African identity" as they connect with and reflect their communities. While previous generations of artists were heavily influenced by Western art and images, there has been a renewed embrace of an Afro-centric identity. Odoll maintained that this movement has its roots in the activist music of the late Fela Anikulapo Kuti of Nigeria as well as that of Brenda Fassie, Lucky Dube and Yvonne Chaka Chaka of South Africa, among others, who used the arts and their African identity to challenge social issues. Odoll also noted the growing importance of digital streaming and social media platforms, which young Africans have embraced, especially during the COVID-19 pandemic, as alternative forms of messaging.

Sudanese Artists Fueling the Revolution and a Peaceful Transition

Art was used as a "weapon" during the Sudanese 2019 revolution, according to Sudanese artist Assil Diab, who is known professionally as "Sudalove."

Diab said she was inspired to produce wall murals to honor the young martyrs killed by former President Omar al-Bashir's regime simply for demanding their basic human rights. The public art she and others produced helped protesters disseminate information and share views on the inclusive and free society they wanted from the transition.

Nureldin Satti, Sudan's ambassador to the United States, underscored the hope of this new generation of young people in Sudan, noting the murals express the demands of the revolution for "freedom, peace and justice." Satti noted that art is part of shaping a "shared consciousness" and a "shared vision for the future," which are essential to support peace processes and the tremendous effort it takes to deliver on "a culture of peace." "Art is a unifier and a catalyst," Satti said, but cautioned that there is a "need to reconcile heritage with modernity to manage diversity and to be able to make culture and heritage tools for peacebuilding and sustainable development."

South Sudan's "Anataban" Campaign

Despite the 10th anniversary of South Sudan's independence this past month, the country is still confronting a grave humanitarian crisis. But South Sudan's youth are using public art in an attempt to unify the country's diverse ethnic groups and condemn the endless violence.

Anataban, established in 2017 during a campaign entitled "South Sudan is Watching," was originally intended as an artistic platform for South Sudanese to monitor the peace talks and be watchful as politicians deliberated on the country's future.

But today, Anataban (which means "I am tired") has blossomed into a network for South Sudanese youth, women and other creatives to change the narrative surrounding the country's long history of failed peace processes.

Co-founder of the Anataban campaign Jacob Bul Bior Bul stressed the importance of art as a means to engage the public in support of peace and development. Through music, dance and art festivals that target women, youth and creatives, Anataban is mobilizing South Sudanese to assert their rights to peace, health care, education, freedom of expression and good governance. And while fighting by armed security forces has largely subsided across South Sudan, there is an alarming increase in deaths from intercommunal clashes. This ongoing violence underscores the continued need for the work of Anataban's artists as they build community cohesion, resilience and national unity.

The Creative Economy for Peacebuilding

Research has shown that issues in social development, such as unemployment and inequality, are often at the root of conflict and are key areas that impact sustainable development. The challenge for governments remains, in large part, one of limited resources to address these issues.

However, Amira Elfadil Mohammed, the AU commissioner for health, humanitarian affairs and social development, said the creative economy has the potential to drive job creation and sustainable development. Through partnerships with the Africa Exim Import Bank and others, the AU is supporting growth in this area - with the opening of the Great Museum of Africa in Algeria and the Second Biennial of Luanda, a pan-African forum on culture for peace, both scheduled in the coming months.

Regarding the U.S. government's role in supporting African arts, culture and heritage, Akunna Cook, deputy assistant secretary for African affairs at the State Department, said there is a strong "business case" to invest in the African creative economy and the youth who are driving it to support peace and development.

The U.S. government has long had an advantage in promoting its "soft power" in Africa through the widespread admiration of American culture on the continent and engagement with the huge African diaspora in the United States.

Using these connections as a starting point, the United States is poised to invest in the continent's creative industries as part of the economic development initiative "Prosper Africa." The hope, according to Cook, is that U.S. investments will be another source of economic development to create decent jobs for youth and sustainable peace.

Through a continued focus on - and contribution to - the promotion of arts, culture and heritage, Agwuegbo said that the AU, member states, the African people, international organizations and partners can help ensure the creation of an environment that advances community cohesion and resilience; respects diversity, social inclusion, human rights and democracy; and fosters sustainable development and lasting peace. Ultimately, art supports life and peace.

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Building a Peaceful Africa Through Arts, Culture and Heritage

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Across the continent, Africans are increasingly using the arts to reimagine their world and reclaim public space to reflect on what a more peaceful and prosperous Africa could look like. Indeed, the African Union (AU) has prioritized art for only the second time in its history with its 2021 theme, "Arts, Culture and Heritage: Levers for Building the Africa We Want."

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During Sudan’s 2019 revolution—as people mobilized across the country with sit-ins, marches, boycotts, and strikes—artists helped capture the country’s discontent and solidify protesters’ resolve. In particular, artists became an integral part of the months-long sit-in at the military headquarters in Khartoum, which was known as the heart of the revolution until it was violently dispersed by paramilitary forces on June 3, 2019. This immense expression of creativity was both a result of loosening restrictions on freedom of expression and, at the same time, a catalyst for further change.

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During Sudan's 2019 revolution-as people mobilized across the country with sit-ins, marches, boycotts, and strikes-artists helped capture the country's discontent and solidify protesters' resolve. In particular, artists became an integral part of the months-long sit-in at the military headquarters in Khartoum, which was known as the heart of the revolution until it was violently dispersed by paramilitary forces on June 3, 2019. This immense expression of creativity was both a result of loosening restrictions on freedom of expression and, at the same time, a catalyst for further change.

Hussein Merghani's watercolor of hundreds of people from Atbara traveling to join the sit-in at the military headquarters in Khartoum in April 2019.

Throughout Sudan, artists helped spur on conversations about the trajectory of the country and also used murals to share information about dates and times of protests. (See Special Envoy Donald E. Booth's video statement here.) Jonathan Pinckney, program officer and research lead for USIP's program on nonviolent action, points out that art has played a role in many major nonviolent struggles as a way to create a shared vocabulary: "Art can provide a unifying center for the many different specific goals and agendas ... Few people may read a movement's hundred-page manifesto, but everyone can recognize the colors, songs, and images that movements draw upon to tell their supporters who they are and what they want."

As for Sudan's artists themselves, Mustafa Abushamma, owner and founder of Khartoum's Mojo Gallery, says that the revolution brought a new generation of artists to prominence: "When the revolution happened ... the whole world was seeing these amazing murals on the walls in Sudan." (See USIP's interview with Mustafa Abushamma here.)

Protesters at the Military Headquarters in Khartoum the day before fall of former Sudanese President Omar Al-Bashir. (Alsanosi Ali)

Murals: Keeping Eyes on the Revolution

One of the first forms of art to pop up during the revolution were outdoor murals. As protesters flooded the streets, so too did art installations that depicted a wide array of topics.

Graffiti artist Assil Diab, known as Sudalove, created murals across Khartoum to honor the martyrs of the revolution and of the regime of Omar al-Bashir. Assil describes her work as "a medium to start dialogues and conversations with the community and also speak on behalf of so many people," noting that upon seeing a mural, "whether you're with or against the revolution, you are forced to be reminded of what is going on." (See USIP's interview with Assil Diab here.)

Families of Sudanese martyrs have found some catharsis in watching or even assisting Assil Diab in creating murals honoring their loved ones. For Pinckney, this comes as no surprise, as "there is something powerful about art that touches the emotions, expresses shared humanity, and invites the participation of lots of people."

Assil Diab poses with Ahlam Khidr, protest leader and activist, in front of Assil's mural of Ahlam's son Hazaa Izzeldine Jaafar, who was killed while peacefully protesting Bashir's regime in September 2013.

Galal Yousif is internationally recognized for his work across many mediums, including murals. Throughout the revolution, he created several large artworks at well-trafficked locations in Khartoum, including the widely admired mural "The Scream" that was destroyed during the violent crackdown on the Khartoum sit-in.

A mural by Galal Yousif near the sit-in site reads "you were born free, so live free." (Sari Ahmed Awad)

Although he has been asked to repaint "The Scream," Yousif maintains that the mural was part of the massacre and that he will not recreate it until there has been justice for the lives lost. Transitional justice is one of the foremost challenges facing the Sudanese government, and many Sudanese are frustrated by the lack of progress to date. Beyond "The Scream," Yousif has painted other prominent murals in Sudan, including one near the sit-in site and another that he created under Mak Nimr Bridge in Khartoum with a team of volunteers.

Galal calls this mural, under Mak Nimr bridge in Khartoum, "for the people and by the people" because it was created with the support of a team of volunteers. This mural marks the signing of the agreement for a 39-month transitional period. (Galal Yousif)

Meanwhile, artist Alaa Satir's murals in the Burri neighborhood of Khartoum highlighted the prominent role of women in the revolution, including a mural of three women captioned "We are the revolution and the revolution continues." After playing a pivotal part in organizing and leading protests, women have been mostly sidelined during the transitional period-signaling the need for further progress.

Alaa Satir painted this mural in Burri days after the fall of Omar al-Bashir and his immediate successor General Awad Ibn Auf, as protesters continued to demand a transition to civilian rule. (Ahmed Mahmoud)

Virtual Art: Expanding the Revolution Beyond Sudan's Borders

Yasmeen Abdullah's art, part of the "Blue for Sudan" campaign, depicts blue hands reaching down toward a fallen martyr.

Within Sudan, online communication was a critical tool for organizing during the revolution, although efforts were hampered by government-initiated internet outages and blockages of key sites. But for those outside of Sudan-including artist Yasmeen Abdullah-social media campaigns allowed them to express their support. The most widely publicized of these campaigns was "Blue for Sudan," in which users turned their profiles blue in solidarity following the killing of activist Mohamed Hashim Mattar during the Khartoum military headquarters sit-in crackdown on June 3, 2019.

Digital art also opened the doors to experimentation with new mediums. Dubai-based artist Merghani Salih created massive photo mosaics composed of images from the revolution. Describing his process of creation, Merghani said: "I found myself building an archive with all the daily images and videos which were being shared across all social media channels from across Sudan. I then contemplated that if a picture is worth a thousand words, what if that picture was physically made up of one thousand images?"

Merghani Salih's mosaic of the 'The Kandaka' highlighted women's contribution to the revolution. Originally shared on social media, it was later shared in news media, at venues internationally, and at the military headquarters sit-in in May 2019.

Revolution on Canvas: Sudan's Unique Artistic Tradition

Mustafa Abushamma was not surprised that Sudanese artists were able to reach such a wide audience during the revolution, as Sudan is often recognized as an important influence in the development of modern art in Africa through the Khartoum School -Sudan's modernist art movement founded in 1960. "Sudanese art is a mix of Arab and African, and this is very unique to Sudan," said Abushamma. "The art coming out of Sudan is not like any art around the world ... we see that in the colors, the motifs that we use, and it speaks to a lot of people."

Abushamma founded his gallery 10 years ago to highlight a diverse slate of artists and to get more Sudanese art into Sudanese homes. He is pleased with the changes that he has seen, noting that increased appreciation for original art means that more artists are able to support themselves. And even amid a tenuous democratic transition, Mustafa is energized for the future when he speaks about the trajectory of young Sudanese artists. Describing the work of Darfuri artist Osman Gouma Ahmed, currently in his early 20s, Mustafa says, "Can you imagine what he will be able to do in 10 years?"

Osman Gouma describes his art as being inspired by folk tales from the African-Sudanese culture.

Hussein Merghani is a more seasoned artist who is also featured at Mojo Gallery. His watercolor of the Atbara Train-also known as the Freedom Train-captured one of the most iconic images of the revolution. Hundreds of protestors from Atbara, a city in Sudan's north that saw some of the earliest protests in the revolution, commandeered a train in April 2019 to travel southward to Khartoum to join the sit-in at the military headquarters. As the train moved slowly along its 200-mile route, Sudanese cheered from alongside. The Atbara Train came to symbolize the broad support for the revolution from across the country. While the Atbara Train watercolor (featured at the top of the page) captures one of the joyous moments of the revolution, Hussein has also depicted the tense everyday moments in the months-long demonstrations, including in a watercolor of a young boy leading a protest with an empty water barrel.

Hussein began watercolor painting at age 11 and has exhibited his work widely across Sudan and in Ethiopia, Uganda, and Spain.

Art in the Transition

Hussein Merghani has used proceeds from his art to pay for continued mural painting around the site of the sit-in at Khartoum's military headquarters. And he's not alone-as Sudan shifts from revolution to transition, other artists are supporting social projects throughout the country.

Muralist Assil Diab has adapted her art to the COVID-19 reality, painting murals that encourage mask wearing-including one featuring a diverse group of Sudanese people wearing traditional dress and face masks. As she was painting the mural, she and her team took the opportunity to raise awareness of health precautions with passersby.

Assil Diab's mural of Sudanese people from different tribes all wearing masks saying "stay at home" in their own dialects. The mural won a dissemination award from UNESCO in 2020.

Publishing with the hashtag #Khartoon, internationally renowned cartoonist Khalid Albaih levels sharp-witted critiques of injustices around the world. In July, following the army's statement that citizens publicly criticizing the military could be arrested, he published a widely shared cartoon of a crocodile in military fatigues with large tears rolling down its face. Khalid's work has mobilized others to use art as a tool to advocate for change in Sudan. And Khalid does not limit his expression to art-he has also written widely, including on the need for further U.S. support to Sudan's transition.

Khalid Albaih shared the cartoon" Crocodile Tears" on social media, including on Facebook where he has more than 80,000 followers.

Sudan's nonviolent revolution and the creativity that buoyed it are reasons for celebration. But the country faces a myriad of challenges during its transition, including a pandemic and a severe economic crisis that have led to renewed protests in the streets. Additionally, a prominent case where 11 Khartoum artists were jailed this past August has drawn broad condemnation, highlighting the need for legal and judicial reform during the transition to protect freedom of expression.

The work must continue, and there is still an important role for artists-in opening space for public conversations, expressing grievances and hopes, and helping to hold all bodies of the transitional government to account. And the transitional government can honor Sudan's recent history by preserving revolutionary art for future generations and by nurturing the immense talent and creativity that helped to bring it to power.

The announcement on February 8 of a new Cabinet in Khartoum-the product of a peace accord signed by Sudan's transitional government with several armed groups in October 2020 through a deal brokered by South Sudan-offers hope that the broader inclusion of political leaders can help address Sudan's pressing challenges and create peace dividends. Unfortunately, the lengthy process of selecting new Cabinet members revealed additional fractures among both signatories to the peace deal and civilian political elements that seemingly offer competing visions for the transition and beyond.

Democracy & Governance

Sudan's transitional government has signed a peace agreement to end a number of long-standing conflicts and civil wars. USIP's Susan Stigant says this is a positive sign for democratic progress, as "one of the promises of the revolution was to seek peace," but cautioned that the real "work only begins once the ink is on the paper."

Democracy & Governance; Peace Processes

With the UAE and Bahrain having joined Egypt and Jordan in declaring peace with Israel, those asking "who's next?" often look enthusiastically westward, toward Khartoum. Adding new chapters to the Abraham Accords is in the U.S. interest, but so is a successful transition in Sudan. And the sequence of these steps is critical. A unified Sudanese government with a popular mandate will be better able to forge a warm and sustainable peace with Israel, whereas a rushed Israeli-Sudanese agreement has the potential to unravel Sudan's transition and generate renewed support for Sudan's Islamists and their foreign backers.

Democracy & Governance; Global Policy

Sudan's decades-long economic relationship with China has almost always been dominated by oil. Yet this relationship has changed significantly in the past decade-first with the loss of oil reserves when South Sudan became an independent nation in 2011, and more recently due to the ouster of longtime ally President Omar al-Bashir. This report, based on interviews with policy officials, diplomats, industry and security experts, and others, examines China's evolving commercial and political interests in this vital nation in the Horn of Africa.

Conflict Analysis & Prevention

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How Art Helped Propel Sudan's Revolution

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During Sudan's 2019 revolution-as people mobilized across the country with tactics including sit-ins, marches, boycotts, and strikes-artists helped capture the country's discontent and solidify protesters' resolve. In particular, artists became an integral part of the months-long sit-in at the military headquarters in Khartoum, which was known as the heart of the revolution until it was violently dispersed by paramilitary forces on June 3, 2019.

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A participatory public art project that explores how art, design, and visual culture impact communities in Cairo, Egypt.

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A participatory public art project that explores how art, design, and visual culture impact communities in Cairo, Egypt.

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Heba El-Cheikh is a creative producer and arts manager based in Cairo who has been working with young people and communities since 2009, initially with The Journey and now with Mahatat for Contemporary Art. We met a few years ago and I'm glad to call her a friend. We've talked about the challenges of doing community-oriented arts work in her country, but I've not yet had a chance to see the work myself. This piece, written to accompany an exhibition of art aftert the 'Arab Spring' that has just opened in Vienna, gives a glimpse of how young artists are reimagining community art in a changing world. To download the essay as a PDF, click on this link, or carry on reading...
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Heba el-Cheikh
Audiences and Art in the Public Space in Egypt: Why we do what we do

'What do you mean by "show"?'

The question hung in the air, with a mix of confused and aggressive facial expressions and a clueless, empty gaze that I received from the young officer on this warm winter afternoon in Port Said (a city situated along the Suez Canal in Egypt).

It all started when we decided to expand our activities, thanks to a generous grant that we received from Drosos to support our program 'Access to Art' and its three projects: 'Art of Transit', 'Mosaic', and 'Face to Face'. During the 'Art of Transit' project we began to organize a quarterly artistic and performative tour of the cities in which we operate: Greater Cairo, and three large cities in the Delta Region, namely Port Said, Damietta, and Mansoura.

Our first tour, in October 2014, was intended to be as visible as possible, no longer a low profile presence in the streets (as was our previous strategy). We brought together the Oscarisma marching band with the giant puppets of Al Kousha for the puppets to make a 'spectacular' entry into the streets of the city, bringing joy, happiness and entertainment to passers-by.

Our first march in Port Said was quite successful. The mayor of the neighbourhood was positively surprised by the 'quality' of the show - so much so that he recommended we slightly shift the location of the second march, which was intended to be performed at Souk Ali, a local market on the outskirts of the city. The new location was a few blocks away from the market, in a square. Just our bad luck this was in front of a police station - a location, among other sensitive buildings such as hospitals and mosques, we would usually avoid while performing.

They didn't have to move from their place: all big security trucks, vehicles, jeeps, a dozen special forces in their black outfits and masks, officers, and soldiers of lower ranks were there surrounding us, looking at us with astonishment. Our bouncers and security men with big muscles, and our volunteers on the ground, stepped away, leaving me to deal with the security. I found myself, in my pretty blue dress, with a big smile, delicate voice, and the polite tone of a well-behaved lady, trying to explain to the young officer what we were doing. I had to repeat ' It's a show, a performance, you know, puppets, music ... you know, old street art? Aragoz? Storytellers?' over and over in an effort to make them understand what we were doing. I even started to point at the musicians and performers wearing their instruments and puppets in order to explain what our 'show' was about.

Finally, I showed him, confidently and firmly, the permit that we received from the neighbourhood authorities. Luckily this was the only authority who consented to hand us a written permit. It is worth mentioning that previous to this tour, organized in October 2014, we had never opted to secure any permits to perform in the streets of Cairo, or Damietta. We were aware from the start that the 'permission' and 'consent' of our audience and the community living in the space/neighbourhood, (such as coffee shop owners, workers, and vendors), was more important than a permit from the authorities. With the new geographical expansion of our tours, we started to secure permits, as they are important in our times, (especially considering the escalation of events after June 30 th 2014), to provide a safe environment for performers, crew, and audiences.

Nervously, the young officer walked away, talked to his chief officer on a walkie-talkie, and then gave me the phone to talk to the chief. I repeated the whole story, again with no success: the chief also did not understand what I was talking about. Five minutes later he came down himself, read the paper carefully, and finally agreed that we could perform, (but not on the market street because 'it's a dangerous place full of drug dealers'). Instead, we were allowed to perform on the city's main street, escorted by a few dozen officers and special forces.

Amused, I followed the march and surprisingly overheard the same young officer talking to his wife on the phone, proudly telling her that he was now providing security for some artists playing in the street. At that moment, I realized this officer might never have attended a live show in his whole thirty years of life - no theatre, no music concerts, nothing! Rien! Nada! This officer is like any other Egyptian citizen who has little-to-no access to art because of centralization, and/or social and geographic exclusion.

The cultural scene in Egypt is mainly divided between two kinds of organizations: state institutions affiliated with the cultural ministry, such as the opera house in Cairo and the national theatres, and the culture palaces and clubs. With the nationalist politics of Nasser in the 1960s and the 1970s, art and culture became more and more centralized, only diffused and produced in the governorates by the Ministry of Culture and its institutions. These state-sponsored institutions dominate the culture scene in the governorates outside Cairo and Alexandria.

Back in early 2000, independent organizations such as TownHouse Gallery, CIC (Contemporary Image Collective), and Al Mawred Al Thaqafy (Culture Resource) appeared on the scene and, with older commercial galleries such as Mashrabia and Karim Francis Galleries, pleaded for quality in art and independence from the corrupt state system. Most of these organizations, galleries, workshop spaces, and exhibitions venues are located in Downtown Cairo. Both state-sponsored spaces and the independent art scene remain inaccessible to the majority of the Egyptian population as they are either geographically, or socially exclusive.

However, there are still a few established organizations located in Cairo that have a community outreach approach, such as Artellewa, Alwan wa Awtar, and El Takeiba art spaces.

In late 2011, my partners and I founded Mahatat for contemporary art, as we aimed at making art visible in the daily life of Egyptian citizens and more accessible and decentralized from the capital by organizing art in the public space and community engaged art projects. Now we realize that by organizing artistic interventions in public spaces, not only do we offer an entertaining, fun, and reflective experience to the audience, but we also create a reference, a new collective image and memory about certain art forms that existed in the public sphere that we are restoring from neglect and dust.

Although the accessibility of art was always, and since the very beginning, Mahatat's main objective and goal, this reality struck me strongly and deeply.

Six months later! 'They make us feel like human beings.'

In March 2015, six months later, we organized a new tour in different locations in the four cities. This time we performed classical music and songs. The programme was a mix of famous opera songs and Arabic oldies, recognized and loved by the whole Egyptian audience. All this was performed on balconies in the respective cities and in a historical ruined palace in Mansoura city. We were there to witness the pure amazement of the audience, watching and listening to the prima donna come out onto the balcony and sing her soprano melodies, accompanied by a violinist and percussionist, all wearing pyjamas and robes. I was enchanted to see the little kids dancing, amazed watching this handsome singer in his tuxedo coming out of the balcony of the ruined Red Palace (al ahmar) in Mansoura, transformed by light and music into a magical fairy palace.

We would have been very content with just the sparkles in the eyes and the enchantment of the audience, but we were also much rewarded! With the constant presence of security escorting our performances with their cars and sirens (to protect us), we were surprised as the rigid faces of the state's security officers ( amn markzy) grew softer and tenderer, song after song. They had also joined the lines of our audience. And this was a new victory for us.

An old man stopped by and asked about the performance, who had organized it, and what these people were doing. While walking around and mingling anonymously with the audience, as well as the rest of Mahatat's crew, Omar El Motaz Bellah, the director of the Teatro independent theatre group, replied, 'You know haj (old man), they are offering opera and oldies songs to the people.' The old man nodded, looked down, and then said 'God bless them! They make us feel like human beings.'

In the idealism and simplicity of this statement, the old man summarized the essence of why we are doing this. He might have answered all the questions, the insecurities and uncertainties we had struggled with throughout our four years of working in the streets - the questions we have been trying to find answers to. His statement has simplified all the justifications we had repeated in front of our families, friends, donors, audiences, and even politicians.

We believe that art does not need to have a certain message, it is not about educating people nor cultivating them, but it is all about providing moments of pure joy, and reflection. Art restores life and is rooted in the core essence of human rights and dignity.
Heba El-Cheikh is a cultural manager and freelance writer living and working in Egypt. After studies in French, translation and journalism, she gained a Masters in Arts Management at Utrecht University, with a thesis on Community Arts Evaluation Practices in Egypt (2015). In 2009, she co-founded The Journey Cultural Group in Alexandria, working with young people on creativity and critical thinking, and in 2011, Mahatat For Contemporary Art in Cairo.
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[1] The 'Aragoz' is a traditional hand-made wooden puppet that used to wander public spaces, usually during traditional festivals, 'Mouled', and weddings. Aragoz stories usually criticize one or more aspects of Egyptian life and culture, represented by their reckless and satirical character.

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'Art in Public Space in Egypt' by Heba El-Cheikh

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Heba El-Cheikh is a creative producer and arts manager based in Cairo who has been working with young people and communities since 2009, initially with The Journey and now with Mahatat for Contemporary Art. We met a few years ago and I'm glad to call her a friend.

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Street art has always been a prominent tool of self-expression in history. It has gone through many phases of development over the years. In Egypt, it's noticeable how the revolution radically changed the art scene in the past few years. Consequently, street art in Egypt started to be used as an expressive tool by a lot of youthful talents.

Walls of Cairo witnessed a remarkable wave of self-expression. The book "Walls of Freedom" records the artwork made by the citizens during the first three years after the revolution. The street art tells the story of the power of resistance.

Aya Tarek, Egyptian muralist

The revolution might have shed highlight on street artists. However, there are those who have been working in the shade for quite some time. Among them is Aya tarek, the Egyptian muralist and illustrator from Alexandria.

Tarek has been doing art work ever since 2008. She participated in a lot of galleries and exhibitions locally and all over the world. Tarek has put her mark on the walls of Brazil, America, Berlin, and participated in festivals such as Djerba and City leaks street art festival in Germany. One of her most popular works was Omar El Sherif mural in Gueneva.

Tarek is interested in humanity as a subject. As she expresses in one of her interviews, she likes to draw faces and reactions. Tarek originally studied painting in Alexandria University. Therefore she prefers to work with paint more than other tools like spray and stencils.

Tarek's main aim is to develop her art work and produce on larger scales. She just wants to freely express herself through art without categorization. Recently, Tarek work included creating murals for interior commercial and entertainment projects. Additionally, she will be working on art projects in Gouna, Cairo as well as Los Angeles.

Artwork and business

In 1970s and 80s, the art of painting ads and movie posters was so popular. After the age of digitization, this art has developed to match with the updated technologies. In the current entrepreneurial movement in Egypt, we can see a lot of youthful talents bringing back the art of wall painting. Here are some of of those who are making it in the art business:

Jidar

Two years ago, young female entrepreneurs, Sara Gaafar, Farah Emara and Tasneem Amr founded Jidar. It's a platform aiming to connect wall painters and create visual arts on walls. Artists of Jidar have worked on projects in Cairo, Gouna and Hurghada. Through their projects they markedly focus on making the wall tell its story.

Cairo Walls

Founded by two enthusiastic architects, Ahmed Assadeya and Mohammed Mohsen, Cairo Walls is making a change in the perspective of the painted walls in Egypt. Cairo walls is an art hub that aims to add its special artistic touch on the exterior and interior walls of Egypt.

As can be seen, there are major steps going on with the aim to change people's perspective on art and how they react with it. Consequently, the image of the artist is starting to change. Artwork should not be a distant subject anymore but rather included in our everyday life. We're glad to see a lot of artists taking this initiative in Egypt through various ways.

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Street art has always been a prominent tool of self-expression in history. It has gone through many phases of development over the years. In Egypt, it's noticeable how the revolution radically changed the art scene in the past few years. Consequently, street art in Egypt started to be used as an expressive tool by a lot of youthful talents.

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The objective is to promote the reputation of artists and not to earn money directly through these events. And there’s something for everyone –  artists, cities, the public.

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Long considered marginal, street art today represents a major trend that democratizes access to art and infuses urban spaces with a new social and economic dynamic. In the heart of the island of Djerba, Tunisia, some 100 artists have illuminated the small town of Erriadh – now known as Djerbahood – with about 250 murals. Mehdi Ben Cheikh, a French-Tunisian gallery owner who initiated this promising project, tells us how the idea continues to grow.

Mehdi Ben Cheikh, interviewed by Anissa Barrak

How was the Djerbahood project born and why did you choose Erriadh as a location for it?

In 2013, I had completed the Tour Paris 13 project, which received exceptional media coverage. This high-rise building in the 13th arrondissement of the French capital, was condemned to destruction and was demolished in April 2014. But before the deadline, about 100 artists of eighteen  nationalities volunteered to transform it into a collective work of art. Façades, common areas and thirty-six apartments were taken over by the masters of street art. These works, though ephemeral, are now available on the Web, to a huge audience around the world.

This success encouraged me to set up another project that I had been working on for some time – organizing a street-art event in Tunisia, which would make people talk about the country in positive terms. Erriadh, on the island of Djerba, seemed to me the ideal place – with its luminosity, its beautiful traditional architecture, its urban development structured around a central square, its history, the legendary hospitality of its inhabitants. Let’s not forget that if Djerba is indeed, as we believe, the land of the Lotus-Eaters of Homer's Odyssey, Ulysses was its most famous visitor!

Formerly known as Hara Essaghira, Erriadh is located near the famous Ghriba Synagogue, one of the oldest in the world. A Jewish pilgrimage site to this day, it was built by the exiles who fled Jerusalem after Nebuchadnezzar II destroyed Solomon's temple around 586 B.C. Its population was therefore mainly composed of Jews and Muslims, who lived there together, as evidenced by its five synagogues (two of which are still in operation) and its two mosques.  But following the massive departure of the Jewish population from the island in the 1960s, the small town fell into a state of lethargy – remaining at the margins of tourism, the island's main economic activity. Even though it’s only six minutes from an international airport!

Did you face any difficulties getting the project accepted locally?

I quickly obtained permission from the national authorities to start work in the public space. The country was in a period of transition after the revolution, municipal authorities had been dissolved throughout the country and replaced by provisional committees, but in Erriadh there wasn’t even a provisional committee. So the project was started with private donations. With the support of some hotel owners in Djerba, I was also able to get a financial contribution from the Ministry of Tourism.

As for the inhabitants, we had to negotiate with them at first, of course. They didn't know what we were going to do with the spaces they owned. We explained the idea, the process, and it was mainly the women who persuaded their men to let us go ahead with it. Once the first works were completed, the inhabitants began to ask us to decorate their houses.

Suddenly, Erriadh woke up. It has become a destination and a transit point for thousands of tourists (the taxi drivers were thrilled!), many restaurants and several galleries have opened, and property prices have risen sharply. The lives of the inhabitants have completely changed. That's what matters most to me.

You brought in about 100 renowned artists. What persuaded them to join the project?

The project makes sense. What interests artists is to create, and to share their work with as many people as possible. The contracts signed with them concerned only image rights. Our objective is to promote the reputation of artists and not to earn money directly through these events. And there’s something for everyone –  artists, cities, the public.

The artists represented thirty-four different nationalities and produced 250 murals! Groups of them took turns working every week, for a period of three months. They were free in their creative approach. Of course, we were all aware that we shouldn’t shock the inhabitants with images of naked bodies, for example. It was necessary to respect the population, its culture. But beyond that, they were free to do as they pleased. Each artist interacted with the space according to his or her own inspiration.

Since this experience, the artist’s place has gained more respect in Djerba. The inhabitants have understood not just the economic benefits that this art represents for them, but also the essence of the artistic approach. They met the artists, they forged close ties with them. The artist is no longer perceived as the village madman, marginal, but as someone gifted – who creates a structured imaginary universe and who, at the same time, can contribute concretely to the improvement of daily life.

Some people tend to think that street art can only succeed in a country where there’s already a cultural and artistic dynamic – in other words, in the West.  Djerbahood has proven the opposite. It shows that not everything is done elsewhere. That any place in the world can become, at some point, the capital of street art, even if it’s located at the far end of an island.

In what condition are the works that have been in Djerbahood since 2014?

Very few of them remain. The great difference in temperature between the winter and summer, the humidity, the lime smeared on the walls – all this has affected the conservation of the works.

In the new project I am launching in Paris in April 2019, we use resistant materials like marine varnish, and restoration is part of the plan in the city's specifications. It is in this spirit that I would like to perpetuate the Djerbahood project, which enters its second phase this year. My objective is to make Djerba a huge street-art lab – like Ibiza, in Spain, is the island of musical creation and electro.

How can street art be defined?

Street art is an appropriation of urban space through an artistic approach, whatever its nature. It includes as many styles and worlds as there are artists. It goes from graffiti to gestural or chromatic figuration, from sound and light installation to physical performance. Artists play with urban infrastructure, with architecture, with light and shadows. Graffiti can measure seventy centimetres or as many metres high! Regardless of the medium used, the most important thing is to take over the streets.

This kind of artistic expression has always existed – the Lascaux cave that dates back to the Palaeolithic period is proof. But street art is now booming, particularly in Latin America, the United States, Europe and the Arab world. Street artists el Seed, Shoof and KOOM – to name just a few artists of Tunisian origin – have now acquired international reputations and embody the exceptional dynamism of this art form that wants to build bridges between people.

El Seed, for example, has transformed the face of Kairouan, a Tunisian World Heritage site, and paints his calligraffiti all over the world – South Africa, Canada, South Korea, Dubai, Egypt, US, France. Hosni Hertelli, whose pseudonym Shoof means “look” in Arabic, has also resurrected traditional calligraphy in his own way – through painting on ancient Tunisian façades, but also through music and light. His show White Spirit attracted thousands of spectators in Australia and France. Musician and calligrapher Mohamed Koumenji (KOOM) combines these two arts in his plastic and luminous works, while drawing inspiration from Sufi tradition and incorporating modern technologies. An example that showcases his great talent is his multidisciplinary creation, On the Roads of Arabia, co-organized by Paris’ [founded by Cheikh] Galerie Itinerrance at the Louvre Abu Dhabi in November 2018.

Bringing art to the people rather than confining it to the places reserved for it – is that what street art is about?

Street art was not created with the intention of bringing art to the people, but in reality, that’s what it does. Because it’s practised in public spaces, it’s offered to people free of charge, at street corners. It’s the most democratic artistic movement there is, but also the most appropriate for its time – relayed on the Web through photos and videos generally taken by the artists themselves, its reputation is based on the recognition of the greatest numbers, through social media.  Once the artist is recognized, she or he can choose to exhibit in galleries, which link street art to art in places dedicated specifically to art.

Therefore, it’s a whole system parallel to contemporary art that’s being established. I have mentioned the project launched in Paris in April 2019. It’s on Boulevard Vincent Auriol, where we are creating a real museum of a new type. Everything has been thought about – the lighting with projectors using solar energy, the sound system, the durability of the works. Street art does not have to chase museums to be shown – it plays with the city, it’s created under the public’s eye, it has exchanges with the urban population, and it is accessible to everyone for free.

And anyone can become a street artist! But in the absence of gallery owners or museum curators, isn’t there a risk that this art will alter cultural heritage sites? In Kairouan, for instance, the domes have recently been painted.

We can indeed question the aesthetic value of certain works that emerge in the public space.  But we can also say that instead of white domes, some of our mausoleums now have colourful domes! Even if it’s more or less well done, I think that in a few years' time, we will end up with interesting results – street art is an art that is constantly being renewed.

There is no need to fear art.  Sometimes we want to pass off certain creations as art, when they don’t deserve the name, because they serve abominable ideologies. But these are extremely rare exceptions. Art has never been a threat to anyone, quite the contrary. I am convinced it’s the best weapon against obscurantism.

Photo: Djerbahood portfolio

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Long considered marginal, street art today represents a major trend that democratizes access to art and infuses urban spaces with a new social and economic dyna

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150 Street Artists Transformed A Tunisian Island Into A Massive Outdoor Museum

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What happens when 150 artists from 30 different countries converge on one island off the coast of Tunisia? In short, an entire village transforms into a massive outdoor museum, showcasing some of the beautiful designs from street artists around the globe in a project titled " Djerbahood."

Left: The village before. Right: (clockwise from right top): Twoone, Shoof and BamK, Curiot, Saner (Galerie Itinerrance / Aline Deschamps)

We have Galerie Itinerrance to thank for the stunning gathering. The Paris-based institution invited artists like C215, eL Seed, Swoon, and ROA to paint the walls, doors and ruins of Djerba, turning the sparse architecture into open air canvases. " I found the idea so innovative that I couldn't say no," eL Seed, a France-based artist born to Tunisian parents, explained to The Middle East Eye. "As a Tunisian artist, I believe it is a duty for me to support this kind of initiative."

Djerba is the largest island in North Africa, home to Roman and Punic ruins and one of the oldest synagogues in the world -- El Ghriba. With idyllic beaches and a mild climate, Djerba has long been a tourist resort destination, though the tragic Ghriba synagogue bombing in 2002 slowed travel to the island for some time. George Lucas' 1977 "Star Wars Episode IV" filmed briefly in the town of Ajim, cementing Djerba's spot in pop culture history. You can take a visual tour of the village of Erriadh, adorned with street artworks earlier this year, below.

Related...

25 Street Artists' Works From Around The World

See Gallery

Deputy Enterprise Editor, Culture, HuffPost

Tunisia street art street artists Arts Art news

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A Group Of 150 Artists Transformed A Tunisian Island Into A Street Art Haven

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What happens when 150 artists from 30 different countries converge on one island off the coast of Tunisia? In short, an entire village transforms into a massive outdoor museum, showcasing some of the beautiful designs from street artists around the globe in a project titled " Djerbahood." Left: The village before.

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Djerba: l’art de se réapproprier l’espace public

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Djerba: l’art de se réapproprier l’espace public

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" J'ai grandi dans ce quartier, j'allais à l'école primaire à côté et je faisais de mon mieux pour éviter cette rue, des ivrognes et des malfrats y étaient légion. " Bayrem Ettounsi, 27 ans, s'en souvient avec sourire... et fierté. En effet, il regarde aujourd'hui avec joie les passants prenant des photos des fresques réalisées par 16 artistes dont il fait partie. Ces maisons abandonnées, balcons en ruine, chaux décrépie, se sont transformés en une galerie à ciel ouvert.

Tous les bâtiments dans ce quartier sont à taille humaine, un rez-de-chaussée et un étage. Seuls les deux clochers de l'église maltaise font exception. Construite au milieu du XIXe siècle, elle est nationalisée par le gouvernement tunisien en 1964 pour finalement reprendre sa vocation religieuse en 2005. Sans compter la vingtaine de " fondouks ", ces caravansérails séculiers, dont quelques uns ont été rénovés mais la majorité tombée dans les craquèlements de l'oubli.

Une réappropriation

Au coin de la ruelle, un âne se distingue d'un fond blanc éblouissant. Ses poils ont été peints un à un. " Si un âne passait par là, il prendrait cette fresque pour une réalité. " rigole Bayrem, béret noir tâché de peinture blanche, à l'envers comme le Ché, avec un visage àmoitié couvert d'une barbe noire fournie. Sur son dos, un tapis de selle avec des motifs berbères aux couleurs éclatantes: vert, rouge et jaune, se distinguent du dessin monochrome. Sur le mur d'en face, un bocal bleu avec un poisson rouge à l'intérieur, émanant de la tête d'un vieillard en nuance de gris. C'est un tableau de Sydney, artiste belge de passage à Houmt Souk, la vieille ville de l'île de Djerba au Sud-Est de la Tunisie. Un clin d'oeil au temps, à la mémoire, et à l'oubli. " Des passants m'ont dit qu'il ressemblait à un politique tunisien, je ne sais pas si c'est bien. " se demande-t-il. C'est Rached Ghannouchi, le président du parti islamiste Ennahda. Le regard de Sydney se fige quand il apprend qui est-ce, inquiet d'être involontairement happé par les débats de la scène politique tunisienne.

Un acte politique?

Si Djerba Painting a pu voir le jour, c'est sans doute l'ouverture du champ des possibles dans l'espace public. Malgré les difficultés économiques et la morosité de la scène partisane, une réappropriation de l'espace est en train d'opérer. Un processus politique et non-partisan. " J'aime ce pays, cette ville, confie Bayrem, je l'aime encore plus ainsi. " confie Bayrem Ettounsi, homonyme d'un grand compositeur tuniso-égyptien qui a mis en musique les chansons de la voix de l'Orient, Oum Kalthoum. " Mes parents ont choisi de me faire porter un lourde responsabilité, je dois faire mes preuves et mériter ce nom. "
" Djerba painting ", c'est d'abord un appui au tourisme alternatif, selon la coordinatrice de l'événement Ahlam Hajji de l'association Hibiscus - Djerba. Alors que la Tunisie se dirige vers les premières élections locales libres de son histoire, prévues le 6 mai, les sondages prédisent une abstention supérieure à la moitié des inscrits mais cela ne signifie pas une démission de la vie publique pour autant à l'instar de cet événement.

En 2014, dans un village à une dizaine de kilomètres de Houmt Souk, un collectif d'artistes venus du monde entier ont peint des oeuvres dans le quartier " El Hara Sghira " à proximité de la synagogue de la Ghriba, où a lieu un pèlerinage annuel au début du mois de mai. 250 oeuvres peintes par des dizaines d'artistes de renommée mondiale. Une grande campagne de communication et des documentaires et de beaux-livres ont immortalisé cette première expérience. En plus de la synagogue, le quartier revit, les " houch " du nom des maisons typiquement djerbiennes sont retapées parfois transformées en maison d'hôtes et restaurants.

Un patrimoine en danger

A Houmet Essouk ou à El Hara Sghira, l'effritement des piliers, la fissuration des murs et la rouille du fer forgé sont des points communs entre ces deux quartiers historiques. Ce patrimoine bâti pourrait pourtant être considéré comme des " immeubles menaçant ruine " et disparaître, c'est ce que préconise un projet de loi déposé au parlement en début d'année par le gouvernement tunisien. Un texte dangereux selon Adnène Ben Nejma de l'ordre des architectes tunisiens. " Selon la version actuelle, un agent de la municipalité assermenté fait le constat de la ruine, précise-t-il, une aberration car cet agent n'a pas nécessairement les compétences nécessaires pour évaluer la valeur historique ou artistique du bâtiment." Ce texte concerne directement les vieux bâtiments du centre-ville des grandes agglomérations comme Tunis, Sfax ou Sousse, mais pourrait aussi porter atteinte à des sites comme Houmt Souk et, ici et là, attirer la convoitise des promoteurs immobiliers. " Ces murs abîmés, pénibles à peindre, donnent plus de cachet et d'authenticité aux oeuvres mais c'est d'une authenticité rare qu'on ne voit plus en Europe, estime Eugénie, une étudiante belge en architecture. "

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Pour aller plus loin, notre émission sur le projet de loi relatif aux Immeubles menaçant ruines:

https://www.researchmedia.org/S3EP21/

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Djerba: l'art de se réapproprier l'espace public | Barr al Aman

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" J'ai grandi dans ce quartier, j'allais à l'école primaire à côté et je faisais de mon mieux pour éviter cette rue, des ivrognes et des malfrats y étaient légion. " Bayrem Ettounsi, 27 ans, s'en souvient avec sourire... et fierté.

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Jidar Street Art Festival, Rabat, Morocco 2017

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Jidar Street Art Festival, Rabat, Morocco 2017

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Jidar 2017 celebrates multiculturalism at the heart of public space and over the 10 days, 10 walls were painted by artists all over the world, including Morocco, Spain, Germany, Italy, Colombia, Romania, Ukraine, Egypt and Mexico.

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Since the creation of the Jidar festival in 2015, Rabat in Morocco has become a major destination in the international street art circuit. The third edition took place from 21 to 30 April 2017.

Jidar 2017 celebrates multiculturalism at the heart of public space and over the 10 days, 10 walls were painted by artists all over the world, including Morocco, Spain, Germany, Italy, Colombia, Romania, Ukraine, Egypt and Mexico.

Artists invited included Antonyo Marest, Aryz, Ayoub AfroFatCap, Danielle Nitti, David Rocha, Fikos, Welg, Liqen, Low Bros, Mehdi Zemouri, Mohamed Ghacham, NOFAL O-ONE, Saddo and Waone Intersni Kazki.

As well as huge walls this year Antonyo Marest was invited to paint the skatepark.

Antonyo also led workshops and discussions bringing street art to the front of conversations.

All the artists finished their walls within ten days. Here Fikos speaks about his mural ...

"I usually get my inspiration from greek mythology but this time the idea was to illustrate a Moroccan myth. Seems that I was lucky enough to find a myth that is common in Greek and Moroccan mythology so I depicted the "Hesperides", the nymphs of evening and sunsets. The Garden of Hesperides (the place visited by Hercules in order to complete his eleventh labor) contained a tree with golden apples, which was protected by the nymphs and the dragon Ladon -often depicted as a snake- and according to scholars, it was located in Larache- Morocco, north of Rabat." Fikos

Check out the other finished murals below ...

Photo Credit Jidar

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Jidar Street Art Festival, Rabat, Morocco 2017

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Since the creation of the Jidar festival in 2015, Rabat in Morocco has become a major destination in the international street art circuit. The third edition took place from 21 to 30 April 2017.

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The Project Sid Lee Toronto approached MASSIVart to imagine, plan and execute a creative community engagement project for Hullmark, a real estate investment and development firm that is committed to shaping a vibrant and transforming urban Toronto. The result was an interactive art installation that…

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Место: Россия, г. Екатеринбург, ул. Красноармейская 37 Б

Общая площадь: 78,5 кв.м.

Проектирование и строительство: 2016

Статус: реализован

Выполненные работы: идея, 3D визуализация, макет, рабочие чертежи, авторский надзор

Команда: Е. Кропанева, В. Злоказов;

Заказчик: ЗАО "Атомстройкомплекс"

Фото: Аскар Кабжан

Арт-объект на пешеходной улице в центре Екатеринбурга. В павильон можно зайти: пройти сквозь или остановиться, позволить себе обратить внимание на солнечные лучи и непрерывно меняющиеся тени, оттенок неба, обрамленный конструкциями постройки. Для прохожего - это неожиданная остановка на пути; для нас как для креативного бюро - это творческий эксперимент, а для инвестора - вложение в имидж застройщика как прогрессивного и заботящегося о качестве городской среды.

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Павильон ЛУЧИСТЫЙ - LATOON

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Место: Россия, г. Екатеринбург, ул. Красноармейская 37 Б Общая площадь: 78,5 кв.м. Проектирование и строительство: 2016 Статус: реализован Выполненные работы: идея, 3D визуализация, макет, рабочие чертежи, авторский надзор Команда: Е. Кропанева, В. Злоказов; Заказчик: ЗАО "Атомстройкомплекс" Фото: Аскар Кабжан Арт-объект на пешеходной улице в центре Екатеринбурга.

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Studio Fink & Matthew Childs Design collaborated on temporary landscape play installation in Moscow

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World Landscape Architecture is the leading landscape architecture industry website for landscape architects and design professionals

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By Park Han-solKampong Phluk in Cambodia is best known for its floating villages, where endless rows of stilt houses are built in the middle of the Tonle Sap, the largest lake in Southeast Asia, to accommodate changes in the water level between the region's dry and wet seasons. Some of the area's 3,000 residents include ethnic Vietnamese who arrived in the country during the 1863-1953 French protectorate period and were later deported, purged or became stateless after the Khmer Rouge came to power briefly in the 1970s.The villagers today live in precarious conditions, characterized by tin-roofed houses sitting atop aged wooden poles that stand as tall as eight meters high (structures not suitable for Cambodia's oppressive heat), and their survival depends on fishing, which has been heavily affected by climate change. But ironically, their impoverished living circumstances have for long been on display for tourists from around the world who come to get a "true local feel."It is these types of architectural forms ― providing a glimpse into the forces of politics, postcolonial capitalism and local culture ― that installation artist Chen Dai-goang brings out in his new series, "Dreams of the Perfect City."Exhibited on the green front lawn of the National Museum of Modern and Contemporary Art (MMCA), Cheongju, in North Chungcheong Province, are eight "architectural sculptures" in the form of houses, mostly inspired by the exteriors of actual, yet nameless, buildings across Asia that the artist came across during his travels. The sculptures question what constitutes an ideal, perfect city.Each piece is much more than a simple reproduction of urban reality. Chen creatively reimagined each structure with new color patterns and aesthetics that subtly reflect the collective memories surrounding the historical, economic, technological, cultural and climatic influences in the region."For long, I've been fascinated with exploring the most ordinary and personal aspects of life in my installation art ― whether it be through a piece of furniture or a house that contains all these items," the artist said during a recent press preview at the museum."And my interest in houses gradually expanded to include architectural structures of different countries that reflect the general lifestyle and the mindset of their residents."Although he has visited most of the nations in Europe as part of participation in residency programs since the early 2000s, he came to realize that it was time to witness and experience Asia, marked by a complex mix of the history of colonization and modern capitalist development.In addition to the floating houses in Kampong Phluk, Chen turns his attention to types of architecture seen in Korea, notably a bus terminal in Yangpyeong County, Gyeonggi Province ("Architectural Sculpture / Yangpyeong Terminal"), and an unnamed storage building in remote Gapa Island, located south of Jeju Island ("Architectural Sculpture / Good-for-Nothing House / 240 Gapa-ri.")Both pieces examine how the materials and styles of the buildings bear traces of economic and cultural histories nestled within modern Korea."Yangpyeong Terminal" was inspired by the brick exteriors of the terminal space, but was recreated with corrugated sheet iron ― a building material along with slate that replaced thatched roofs in the countryside as part of the Saemaul Movement, a government-initiated rural development campaign that lasted throughout the 1970s, thereby representing the idea of "modernity."Through the installation, the artist questions whether the rapid economic and technological development symbolized by the building material has led us to overlook other values in our lives."Good-for-Nothing House / 240 Gapa-ri" takes an interesting approach in its portrayal of the difficult lives led by the residents of Gapa Island, surrounded by a barren environment, by paradoxically imbuing the installation with a rich and diverse color scheme. The irony further highlights the stark contrast between urbanites enjoying amenities and resources and the islanders' neglected community."The exhibition offers a chance for an in-depth examination of the cities and society in which we live," MMCA Director Yun Bum-mo said in a statement."I hope that rediscovering the meaning of the everyday spaces and places we normally pass by without a thought will provide opportunities to reflect on our cities, and on what constitutes ideal lives and spaces."The exhibition "Chen Dai Goang: Dreams of the Perfect City" runs through July 24, 2022 at the MMCA Cheongju.

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Installation artist traces dreams of modern housing in Asia

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By Park Han-solKampong Phluk in Cambodia is best known for its floating villages, where endless rows of stilt houses are built in the middle of the Tonle Sap, the largest lake in Southeast Asia, to accommodate changes in the water level between the region's dry and wet seasons.

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PIXELATA es un proyecto de sensibilización hacia el reciclaje, la participación ciudadana y la economía circular, a través del arte, el diseño y la artesanía, creado en 2017 por el estudio photoAlquimia.

Consiste en la creación de una imagen pixelada de gran formato, a partir de latas de bebidas recicladas y pintadas en su base (pixelata) colocadas en un soporte autoportante modular (pixelatero) diseñado para tal fin.

Para la puesta en marcha del proyecto PIXELATA 2.0. contamos con el equipo de CADA LATA CUENTA, un programa Europeo de concienciación sobre el reciclaje de latas de bebidas y se llevó a cabo durante los 10 días de duración de la Feria de Artesanía de Castilla- La Mancha. FARCAMA 2017.

Creación gráfica: Pilar Balsalobre (photoAlquimia)
Dimensiones: 600 x 200cm / 2.000 latas de bebida recicladas

PIXELATA ® 2017
DISEÑO INDUSTRIAL PIXELATERO ® CEE 2017

PREMIOS PIXELATA

International Design Awards (IDA 2018) Los Ángeles. EEUU
Dos Oros en las categorías de "Diseño para la Sostenibilidad" y "Diseño para la Sociedad".

Bienal Iberoamericana de Diseño 2018 (BID_18) Madrid, ESPAÑA.
Mención en la categoría de "Diseño y Participación Ciudadana"

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PIXELATA es un proyecto de sensibilización hacia el reciclaje, la participación ciudadana y la economía circular, a través del arte, el diseño y la artesanía, creado en 2017 por el estudio photoAlquimia. Consiste en la creación de una imagen pixelada de gran formato, a partir de latas de bebidas recicladas y pintadas en su base (pixelata) colocadas en un soporte autoportante modular (pixelatero) diseñado para tal fin.

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29 Jul 2020

100architects has rejuvenated the iconic Puji Road pedestrian bridge in Shanghai, China, with bright colours and bold shapes, transforming it into an eye-catching promenade.

The iconic bridge was built over the Suzhou creek in 1997, connecting the Jing'an and Zhabei District. In 2009, it was renovated to allow additional access to small vehicles, such bikes and scooters, improving the urban connectivity.

The bridge extends over a kilometre in length as an elevated platform offering striking views from one of the most representative areas of the city. However, it was overshadowed when compared to other bridges, with its potential to become a local landmark diminished, Therefore, 100architects proposed to transform the bridge into an eventful elevated park crossing the city, allowing passersby to experience a unique journey through one of the densest areas of shanghai.

The design strategy of High Loop organises the different circulations by colours, creating a hierarchy of different rhythms and paces in which the bridge can be transited. While a straight lane in electric lime defines the fast track for bicycles and motorbikes, a winding path in vibrant magenta was purposely introduced to slow down the pedestrian circulation. A contrasting loop that encourages pedestrians to take it slow, enjoy the journey and the views over Shanghai's urban landscape and the Suzhou Creek.

As a background colour, a soothing cyan blue defines the spaces where one can stop and stay, meet with others and socialise. Viewing decks, picnic plazas, lounge areas and mini amphitheatres are located in the cyan blue pockets where contrasting yellow urban furniture are placed. New greenery planters are introduced either as decorative elements or as functional separators of the motored track and the pedestrian path.

Besides those functions, some of the cyan blue patches have been purposely left empty in order to leave flexible areas, allowing the occurrence of informal popup night markets and other vendors. The new design does not change the current structure, but rather transforms it by only adding a colourful painted scape and functional urban objects on top. In this way, both the circulation system and the functionality of the bridge are improved.

Via designboom | Images courtesy of 100architects

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29 Jul 2020 100architects has rejuvenated the iconic Puji Road pedestrian bridge in Shanghai, China, with bright colours and bold shapes, transforming it into an eye-catching promenade. The iconic bridge was built over the Suzhou creek in 1997, connecting the Jing'an and Zhabei District.

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a broader program to promote creativity, community links, environment and urban reserves regeneration

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Aeropuerto Internacional de Los Ángeles (LAX), World Way, Los Angeles, CA, United States of America

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Aeropuerto Internacional de Los Ángeles (LAX), World Way, Los Angeles, CA, United States of America

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Aeropuerto Internacional de Los Ángeles (LAX), World Way, Los Angeles, CA, United States of America

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Future Architecture is the first pan-European platform of architecture museums, festivals and producers embracing a wide range of emerging talents.

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Future Architecture is the first pan-European platform of architecture museums, festivals and producers embracing a wide range of emerging talents.

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UN-Habitat helps launch exclusive Gaza promenade for women, girls, and families | UN-Habitat

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The Haya Promenade promotes equity and inclusiveness for women and girls, as well as children and people with disabilities, through provision of adequate facilities such as baby care rooms, accessible bathrooms, and service rooms. Environmental and social factors, as well as continuous operation and maintenance, were also taken into consideration throughout the design process to ensure the long-term sustainability and longevity of the promenade.

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William Street, Northbridge WA, Australia

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William Street, Northbridge WA, Australia

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William Street, Northbridge WA, Australia

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In a nine-day festival of public art (5-13 April 2014), Perth's under-utilized streets, carparks and inactive spaces have been transformed into a live blank canvas for forty-five of the world's best know urban artists. PUBLIC - Art in the City is part of FORM's ongoing program and strategy aimed at engaging the public through installations, street art and urban activation.

Some thirty walls throughout the city were used as canvas for the festival, which included an artists-in-residence program on William Street North Bridge, a talks series, walking tours and installations.

Image: Douglas Mark Black

Two designers from Hassell, Perth - Romina Triboli and Filipa Matos - were among those who created installations at a pop-up space named PUBLIC House in Wolf Lane. Their installation, Moving Lounges, is made from timber pallets and upcycled furniture, joined together and made mobile with a set of castors, and resulted in a series of brightly coloured urban lounge settings on wheels allowing users to move them around at their leisure.

"We wanted to activate the forgotten streets and laneways in the city by providing them with 'home like' street furniture with a twist: urban lounges - living rooms in the city," says Triboli. "The project allowed us to test ideas that we want to further develop in a more permanent mode in the city."

PUBLIC will continue to develop innovative urban activation strategies through different iterations, beginning with 100 Hampton Road, a collaboration with Foundation Housing using creativity and the arts to increase liveability of social housing. Artists Nigel Bennet, Lucas Grogan, Eva Fernandez undertaking residencies on site.

Later in 2014, FORM will be hosting a PUBLIC symposium exploring ideas and strategies for using creativity to benefit public good.

Related topics

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In a nine-day festival of public art (5-13 April 2014), Perth's under-utilized streets, carparks and inactive spaces have been transformed into a live blank canvas for forty-five of the world's best know urban artists. PUBLIC - Art in the City is part of FORM's ongoing program and strategy aimed at engaging the public through installations, street art and urban activation.

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Boston Society of Landscape Architects Fund Boston, MA
About the project

Made up of just 63 plastic pieces, Kit of Parks (KoP) brings immediate doses of color, whimsy, and experimental fun to Franklin Park, an area that serves communities with the lowest availability of park amenities in the Boston area. Inspired by pop-up parklets, KoP includes games, play blocks, stools and a table. Contained within a 4'x6' carrier, the kit is packable, lightweight and mobile, and can be hitched to the back of a bicycle for easy transport. KoP is stored within Franklin Park and is frequently deployed to bring play opportunities to less-activated locations in the park.

Community impact

KoP createsa safe space for kids to play without much supervision. At times, up to 15-20 kids can create seemingly endless combinations with the different pieces. The project brought great joy and awe to those who participated in its implementation, and has provided the community with an outlet for unprescribed play.

Moveable/pop-up Play

Additional photos

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Boston Society of Landscape Architects Fund Boston, MA Made up of just 63 plastic pieces, Kit of Parks (KoP) brings immediate doses of color, whimsy, and experimental fun to Franklin Park, an area that serves communities with the lowest availability of park amenities in the Boston area.

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riccardo conti · Architecture and participation: A playground for Syrian refugee children in Lebanon

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The ‘Ibtasem’ playground project aims at advocating for a design that questions the definition of playground and child friendly spaces in emergency response interventions. The innovative process lies within not simply providing playing facilities (swing,

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Big-Bjarke Ingels Group, Superflex, Topotek 1

A public space promoting integration across lines of ethnicity, religion and culture. A meeting place for residents of Denmark's most ethnically diverse neighbourhood and an attraction for the rest of the city, this project was approached as a giant exhibition of global urban best practice. In the spring of 2006 the street outside the architects' Copenhagen office erupted in vandalism and violence. Having just gone through the design of a Danish mosque in downtown Copenhagen, BIG chose to focus on those initiatives and activities in urban spaces that work as promoters for integration across ethnicity, religion, culture and languages. Taking their point of departure as Superkilen's location in the heart of outer Nørrebro district, the architects decided they would approach the project as an exercise in extreme public participation. Rather than a public outreach process geared towards the lowest common denominator or a politically correct post rationalisation of preconceived ideas navigated around any potential public resistance, BIG proposed public participation as the driving force of the design. An extensive public consultation process garnered suggestions for objects representing the over 60 nationalities present locally to be placed in the area. The750-metre-long scheme comprises three main zones: a red square for sports; a green park as a grassy children's playground; and a black market as a food market and picnic area.

OTHER CYCLES

(Library Facilities , الصين)

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Superkilen | Aga Khan Development Network

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A public space promoting integration across lines of ethnicity, religion and culture. A meeting place for residents of Denmark's most ethnically diverse neighbourhood and an attraction for the rest of the city, this project was approached as a giant exhibition of global urban best practice.

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Shanghai-based practice 100 was founded by the trio of architects - Marcial Jesus (Chile), Javier Gonzalez (Spain) and Jenny Fang (China) - to establish an international collaborative workshop based in China with a specialised interest in street architecture and urban interventions.

The firm has designed Crystal Pool, a creative public space intervention for the opening of a new mixed-use complex located in the New Bund, the emerging international business centre in the Pudong area, with the aim of fostering entertainment and social interactions among new visitors, appealing to kids, youngsters and adults alike.

The 470m² project comprises a staircase that connects the street level with the public rooftop of the commercial building, and also the landing area on the street level in an attempt to link both levels through an eye-catching connection which will encourage visitors to use the staircase as a public space.

The staircase has been sprinkled with "water drops", different typologies of mini-tribunes, carefully designed to provide a range of different seating and lounge positions overlooking the whole central intersection plaza. Those "water drops" would then create a "water puddle" on the bottom landing area, a pool of fun for the younger visitors, containing an obstacle track and a virtual pool with fun features as a playscape.

The resulting space is rendered as a playscape on the street level, filled with basic geometrical objects such as bubbles and waves popular among kids, besides shaded seating features for adults, connected by a funky staircase. The project demonstrates that from just being a common public circulation space, these places can be transformed into urban hotspots for the city's residents for reflection on the usage of the built environment around them.
Photos: Amey Kandalgaonkar

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100 Architects designs urban public intervention in the form of playscape in Shanghai's Pudong area - De51gn

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Shanghai-based practice 100 was founded by the trio of architects - Marcial Jesus (Chile), Javier Gonzalez (Spain) and Jenny Fang (China) - to establish an international collaborative workshop based in China with a specialised interest in street architecture and urban interventions.

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designboom | architecture & design magazine

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architecture studio, urban society, has created a series of temporary pavilions in seoul to provide a public shared space during an art fair event. the structure of the pop-up installation has been formed using a system of scaffolding, affording ease of assembly and disassembly. constructed for a contemporary art market of young artists, the architects, who participated in this fair since last year, have reinterpreted their 2018 pavilion using the same materials.

'the bench' installed between the exhibition buildings in seongsu-dong, seoul

all images © namsun lee

this year, the art fair venue expands through exhibition buildings within the site and is held at different locations from seoul to gyeonggi province. with this in mind, urban society aimed to create spatial experiences that link outside space and use an easy combination of modular design. as a result, the pavilion comprises four types: the gate, the public bench, the communal table, and the theater depending on its location.

'the gate' installed at the back door of a building in seongsu-dong, seoul

the gate is installed at the back door of a building with a high structure and LED lighting. the bench that is installed between exhibition buildings is used for public seating, while the communal table and theater are used as a public dining space, a performance stage and a meeting place.

night view of the temporary pavilions in seongsu-dong, seoul

one of the great attractions is the fact that the installation shows the different atmospheres even though the architects used the same materials depending on where the fair is held. while the fair in seongsu-dong, seoul, filled with small factories, creates a dynamic city atmosphere, the fair in suwon, gyeonggi province, where the former university site was recreated as a local cultural space, evokes the idea of a cabin hidden in nature.

the communal table and the theater installed for multi-purpose in seongsu-dong, seoul

the main entrance of the exhibition venue

the modular scaffolding pavilion has been adapted to a new exhibition site in suwon, gyeonggi province

the temporary pavilions in gyeonggi province

the temporary pavilions in gyeonggi province

the temporary pavilions in gyeonggi province

the night view of the pavilions in gyeonggi province

3D rendering of the site

3D rendering of the site
project info:
project name: temporary pavilions for union art fair 2019 seoul

venue: s-factory (seongsu-dong, seoul) / space 1984 (sangsang campus, gyeonggi povince)

location: seoul and gyeonggi province, south korea

architect: urban society

design team: jaechan yang, minsun kim, heechul choi, junyeong heo, younseong hwang

photography: namsun lee
designboom has received this project from our 'edited by: lynne myers | designboom DIY submissions' feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers

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urban society builds a public shared space using modular scaffolding in seoul

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architecture studio, urban society, has created a series of temporary pavilions in seoul to provide a public shared space during an art fair event. the structure of the pop-up installation has been formed using a system of scaffolding, affording ease of assembly and disassembly.

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1. Blog

2. Landscaping

3. Espacios de Paz, spaces for peace in Venezuela

Espacios de Paz, a 6-week workshop in Venezuela, where Venezuelan and international architects worked at the same time in five different communities to design new spaces - spaces of peace in tough environments.

One workshop, six weeks, five architecture teams, five projects for public spaces. These are the numbers of a participatory architecture experience for communities that wanted to do something about the violence occurring on a daily basis.

Led by Venezuelan firm, PICO Estudio, five different spaces were designed and built together with the locals, to set up new opportunities and regenerate social interaction. A person-friendly form of architecture, because it meets the specific needs of the people it is designed for - and by - involving them in the drive for active and positive change.

Each work team, composed of architects from Venezuela and from other countries, members of the community, students and volunteers spent one week on the design and four weeks building; the last week was dedicated to checking the results: locally focused actions, in a kind of urban acupuncture (like explained by Finnish architect Marco Casagrande), and all their positive potential emerges because they are actually born from their environment.

So, instead of the classic non-places like landfills and abandoned plots of land, we can find a basketball court, or great places for community and social events, where locals are invited to get together, to engage, to interact, all in the name of...peace.

Comisión Presidencial del Movimiento por la Paz y la Vida
Directed by: PICO Estudio
Architectural collectives
Abono / Venezuela
Al Borde / Ecuador
AXP Arquitectura Expandida / Colombia
HSF Hábitat Sin Fronteras / México
Independiente / Venezuela - España [Andrea Stanko Wolf + Elena de Oleza Llobet]
Oficina Lúdica / Venezuela
PGRC Plataforma Gestión Residuos de Ciudad / Venezuela
PICO Proyecto de Interés Comunal / Venezuela
PKMN pacman / España
TXP Todo por la Praxis / España
439 Estudio Arquiurbano / Venezuela
Communities
Petare, La Y 5 de Julio / Caracas, Distrito Capital Pinto Salinas
Las 3 Marías / Caracas, Distrito Capital La Florida
Los Mangos / Valencia, Estado Carabobo El Chama
La Carabobo / Mérida, Estado Mérida Capitán Chico
Santa Rosa de Agua / Maracaibo, Estado Zulia
Artistic Production
Comando Creativo + PICO Estudio
Year: 2014

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Espacios de Paz spaces for peace in Venezuela | Livegreenblog

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Blog Landscaping Espacios de Paz, spaces for peace in Venezuela Espacios de Paz, a 6-week workshop in Venezuela, where Venezuelan and international architects worked at the same time in five different communities to design new spaces - spaces of peace in tough environments. One workshop, six weeks, five architecture teams, five projects for public spaces.

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Velokhaya Life Cycling Academy, Makabeni Road, Village 1 North, Cape Town, South Africa

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Velokhaya Life Cycling Academy, Makabeni Road, Village 1 North, Cape Town, South Africa

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Velokhaya Life Cycling Academy, Makabeni Road, Village 1 North, Cape Town, South Africa

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Crossroads participatory urban art projects - World Habitat

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Velokhaya is a special place for the residents of Khayelitsha. The cycling school is a refuge for hundreds of disadvantaged children, where they can ride bikes, learn, play, and escape from the harsh realities of life in the township on the outskirts of Cape Town, South Africa. Velokhaya is easy to…

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Particularly impressive about this year's DUMBO Arts Festival was not only the extraordinary array of art just about everywhere, but the wide extent of community engagement and expression in public space. Here's a small sampling:
Leaving a brief personal statement And reading those left by others Creating artwork with others Signing a Giant Get-Well Card for Humanity Or just leaving your mark
Sponsored by Two Trees Management Company, this year's DUMBO Arts Festival serves as a model of community engagement with art in public space.
First image is of art installation, Reflection/Kolonihavehus, forged by Tom Fruin from recycled materials. All photos by Dani Reyes Mozeson.

Tagged as: Brooklyn, DUMBO, DUMBO Arts Festival, installation art, NYC, public art, Tom Fruin

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DUMBO Arts Festival: A Model of Community Engagement

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Particularly impressive about this year's DUMBO Arts Festival was not only the extraordinary array of art just about everywhere, but the wide extent of community engagement and expression in public space.

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When designing community spaces, the architectural concept can easily clash with the user's experience. Therefore, engaging the community and future users in the project development and design process is a way of adding different perspectives to the architect's vision towards a more intelligent architecture.

By combining the knowledge of many individuals, a building becomes more efficient, with solutions that are more compatible with the context in which it is located. Moreover, working with the community is an opportunity to exchange techniques and vernacular skills, also providing opportunities for the people who are involved in the construction from the very beginning.

The physical construction of a building or a public space is only an excuse. In the end, what we want is to create citizens. The community is not only a protagonist because it engages volunteers, young misfits, or people with no opportunities in the construction, (but also because) they become involved in the design and building development. They start to debate, to think, and to visualize these spaces, the scale, and the colors. This is the beginning of a fundamental process: understanding that they are responsible for changing their own reality.

This quote by Venezuelan architect José Naza Rodríguez from PGRC captures in a nutshell how architecture with community participation can transform the everyday lives of the people involved and provide valuable insights for architects. Therefore, we have gathered ten projects from around the world that use participatory design and engage the community as their main collaborators.

Based on concepts of urban acupuncture and self-sustainability, the Multiprogram Ship - a participatory urban development initiative consisting of a series of interventions in the public areas of Caracas, capital of Venezuela - is an urban device that connects the main mobility systems of the neighborhood, a building capable of creating new relationships with the public space through its different vertical platforms.

The permaculture community PORET in Zimbabwe follows the philosophy of holistic sustainability since 1996. The PORET-kindergarten is a pilot project, within their principles, (re)generating local craftsmanship and building know-how.

The project for the Käpäcläjui Indigenous Training Center in Costa Rica emerged from a series of proposals following participatory design workshops. These activities were key in fostering a sense of belonging in the community when it came to visualizing and making decisions. It was an opportunity to understand and co-create spaces that were more coherent with their surroundings and centered on the user's needs.

The Community Center of Camburi in Brazil is a building by and for the local low-income community of quilombolas, descendants of Afro-Brazilian slaves who escaped from plantations. It was built as a social development project and, while CRU! offered technical assistance and finances, the community decided all of the content and program of the building over the last 10 years.

The project for the Renacer de Chamanga Community Center in Ecuador started with community workshops to understand and prioritize people's needs. This also allowed us to understand the local resources and the workforce existing in the shelter. In other words, this first stage was vital for the community to practice everything they learned and to complete their communal space in later stages.
This article is part of the ArchDaily Topic: Collective Design. Every month we explore a topic in-depth through articles, interviews, news, and projects. Learn more about our monthly topics. As always, at ArchDaily we welcome the contributions of our readers; if you want to submit an article or project, contact us.
The design of the Naidi Community Hall in Fiji was the result of a collaborative process that began 6 months prior to the project start date and included input from the community at every stage of the design development. Much of the detailing and ongoing research happened concurrently with the project construction, with all foreign participants living with the families of Naidi Village and gaining experience and knowledge through cultural immersion.

The Bang Nong Saeng Kindergarten in Thailand also fostered this intimate creative environment with local and foreign workers and students living together during the construction. Using local resources and techniques, they were able to define educational and recreational needs, redefine the spatial requirements, and create a socially rewarding project.

This project for Social Housing in Pinotepa Nacional, Mexico, is a prime example of participatory and community architecture, in which residents were interviewed and asked to draw their ideal home, providing great insight into their lifestyle and traditions. From there, the project focused on designing each house according to the needs of each family, the local climate, and the characteristics of the terrain.

Finally, we have two projects of the UVA - Unidades de Vida Articulada (units of articulated life) program in Colombia, Sol de Oriente and El Paraiso, which are urban interventions in neighborhoods, intended for public gatherings, and to encourage and foster sports, recreation, culture, and community participation.

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Participatory Architecture: Community Involvement in Project Development

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When designing community spaces, the architectural concept can easily clash with the user's experience. Therefore, engaging the community and future users in the project development and design process is a way of adding different perspectives to the architect's vision towards a more intelligent architecture.

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Bulevardul Schitu Măgureanu 47, Bucharest, Romania

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Bulevardul Schitu Măgureanu 47, Bucharest, Romania

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Bulevardul Schitu Măgureanu 47, Bucharest, Romania

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Future Architecture is the first pan-European platform of architecture museums, festivals and producers embracing a wide range of emerging talents.

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La fabrique des anciens abattoirs de Casablanca, exutoire de la jeunesse marocaine

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La fabrique des anciens abattoirs de Casablanca, exutoire de la jeunesse marocaine

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Mots clés: Fabrique culturelle, expression artistique, cohésion sociale.

A Casablanca, des anciens abattoirs de grande envergure sont reconvertis en fabrique culturelle. Un lieu fantasmagorique devenu l'exutoire d'une jeunesse résistante en plein mouvement dans l'urbanité chaotique de la ville.

Plus d'infos:
https://www.artsresistances.net/fr/article/la-fabrique-des-anciens-abattoirs-de-casablanca-exutoire-de-la-jeunesse-marocaine-120/

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A Casablanca, des anciens abattoirs de grande envergure sont reconvertis en fabrique culturelle. Un lieu fantasmagorique devenu l'exutoire d'une jeunesse résistante en plein mouvement dans l'urbanité chaotique de la ville. Reportage sur un lieu atypique et unique en son genre au Maroc.

Dans l'engrenage de la ville de Casablanca, on s'accroche fortement aux repères urbains pour pouvoir s'y retrouver. Les anciens abattoirs s'imposent ainsi comme lieu important et structurant à l'échelle la ville. Ils prennent source à Hay Mohammadi, quartier mythique ayant donné naissance aux grands noms de l'art, de la culture et du sport marocains. Une station de tramway à proximité de l'endroit, porte leur nom : station des anciens abattoirs, il s'agit d'un lieu de transit important. Tous les Casablancais s'y repèrent, même si beaucoup d'entre eux ne s'y sont jamais rendus.
En s'y rendant par tramway, le bâtiment se suggère d'abord à travers différents volumes aux murs décrépis et à la couleur jaune subsistante. Tout autour, le site semble aride et dépourvu d'identité. Le soleil y tape fort, la lumière est assommante. De petites bâtisses, des constructions populaires ainsi que des restaurants de grillades entourent le lieu, des usines et des espaces industriels se trouvent à proximité. Difficile de deviner qu'un espace culturel de jeunesse s'y cache. Quoique le bâtiment soit imposant, il reste secret, caché derrière quelques arbres, et ne dévoile rien de son contenu à l'extérieur.

Des Abattoirs pour un lieu de contre-culture
Une fois devant les abattoirs, l'accès nous est d'abord refusé par les gardiens de l'entrée. Une autorisation des autorités est nécessaire, selon une note du Wali. Plus tard, ils acceptent de nous faire visiter les lieux, avec l'interdiction de prendre des photos.

En pénétrant à l'intérieur, une architecture remarquable nous captive d'abord par sa grandeur et sa monumentalité. Les abattoirs s'étalent sur plus de 5 hectares et sont constitués de plusieurs bâtiments articulés autour de grandes cours et de ruelles.
Des espaces immenses chargés de mémoire, à l'instar des écuries conservées telles quelles, apportent un frisson d'authenticité qui suscite aussi bien l'émerveillement que l'effroi. Ici, l'art et la culture côtoient la boucherie et les machines d'abattage.
En déambulant dans les hangars et d'un espace à un autre, les nombreux graffitis et inscriptions aux couleurs criardes aiguillonnent nos sens. L'expression y est mordante, vive et suffocante : elle laisse entendre les cris d'une jeunesse révoltée, avide de liberté et d'énergie. Entre les murs en carrelage, sur le sol et les machines d'abattage, elle s'étale sans contours, et s'arrache des murs craquelés avec insolence. Le dépaysement est total : le lieu semble illusoire et nous transporte vers un ailleurs entièrement façonné par les artistes du lieu.

Ces artistes, ce sont des graffeurs, des acrobates, des cascadeurs, des funambules... Il n'y a que les lieux spectaculaires comme la fabrique culturelle des abattoirs, qui puissent contenir l'esprit farfelu et fougueux des artistes de rue et du cirque. Parmi eux, l'artiste de cirque et interprète Saïd Mouhssine, et sa compagnie de cirque Cie-Accroche toi ! le groupe de cirque Colokolo ou encore le Théâtre Nomade, qui se sont installés aux abattoirs devenant résidents de l'espace. Tous aussi extravagants l'un que l'autre, ils débordent de créativité et de talent, et travaillent tous sans relâche.
Pourtant, lorsque l'on visite les lieux aujourd'hui, les artistes en sont absents. Leurs activités, interrompues depuis un moment, ne sont plus que souvenirs. "L'espace était vivant et actif en permanence, et accessible à tous pendant toute l'année, nous confie avec regret le gardien qui nous accompagne. Maintenant il n'y a plus personne, à part le Théâtre Nomade".

Histoire du lieu : Les anciens abattoirs, premières manifestations de la modernité à Casablanca
Les anciens abattoirs représentent un lieu de mémoire important pour Casablanca. Dans les années 20, pendant la période du protectorat français, la partie Nord-Est de la ville devient une assise à plusieurs unités industrielles et ateliers de production et impose rapidement sa vocation industrielle. Dès lors, une masse d'ouvriers en provenance des zones rurales s'y installe. Cet exode rural provoque une croissance urbaine incontrôlée, elle fait émerger des quartiers informels ainsi que les premiers bidonvilles du pays. Pour répondre aux besoins croissants de cette population grandissante, ainsi qu'aux préoccupations hygiénistes de l'époque, des abattoirs modernes sont alors projetés et implantés à la limite de la ville, à proximité de la gare de Casa Voyageurs. Il s'agit de l'un des premiers grands équipements de la ville de Casablanca. Ils sont dotés d'espaces à la hauteur de la modernité de la ville ( espace frigorifique, chaudière, traitement des eaux etc.).
Les abattoirs ont été conçus par l'architecte parisien Georges-Ernest Desmarest et construits en 1922. Ses bâtiments présentent les mêmes spécificités architecturales stylistiques néo-mauresques, mais aussi avant-garde. Leur architecture annonce un style encore inconnu à l'époque : celui de l'art déco, qui sera inventé plus tard en 1925. Il s'agit donc d'un joyau du patrimoine architectural au Maroc.

La reconversion des abattoirs en fabrique culturelle : Un projet phare pour la ville
C'est en 2009 que la friche est transformée en fabrique culturelle, dédiée à la création artistique urbaine de plusieurs disciplines artistiques confondus: street art, arts vivants, arts de la rue et du cirque et bien d'autres. Plusieurs collectifs d'artistes s'y réunissent, autour des mêmes valeurs : Promouvoir l'art en tant que facteur de citoyenneté, démocratiser la culture et faire du lieu un espace de partage ouvert à tous.
L'association Casamémoire est alors désignée comme gestionnaire des lieux. L'espace s'engage à mettre à disposition des artistes des espaces de création, de diffusion et de formation, à être accessible à un large public initié ou pas, et à intégrer les associations du quartier dans des activités communes.
Plusieurs collectifs d'artistes s'ajoutent au projet et élisent domicile aux abattoirs. C'est là que les artistes résidents s'installent et œuvrent ensemble pour donner jour à une série d'événements. Festivals, spectacles, ateliers et expositions : ils réussiront à attirer des centaines d'artistes, et plus de 400 000 visiteurs depuis l'ouverture de la fabrique. Parmi ces festivals, le festival de musique urbaine L'Boulevard Tremplin, véritable révélateur de talents. Celui-ci propose des concerts gratuits et attire des groupes de musique venus de partout au Maroc. Les espaces des abattoirs sont aussi très fréquentés chaque jour, même en dehors des événements, et surtout par les skateurs qui viennent profiter des grands espaces ouverts à tous dont la ville manque. La fabrique culturelle des abattoirs devient alors un pôle de jeunesse à Casablanca, le succès est phénoménal.
Développer un vivre ensemble autour du cirque et des arts de la rue
Les arts de la rue et le cirque sont les arts les plus mis en avant dans la fabrique culturelle des abattoirs, notamment avec les troupes d'artistes professionnels du cirque qui résident dans le lieu. Beaucoup d'entre eux, comme Said Mouhssine, sont diplomés de l'Ecole Nationale de Cirque SHEMS'Y. Ensemble, ils n'ont qu'un seul objectif : pratiquer leur passion librement, la faire découvrir aux jeunes et la partager avec eux. Leur collaboration au sein des abattoirs fait éclore de nombreux projets et festivals.
Parmi ces projets, le Parkour Partage, un événement autour de l'art du déplacement et du free-running qui a mobilisé des centaines de participants. La dimension du festival est d'abord citoyenne et vise à développer un "vivre ensemble" en créant des lieux d'entraînement et de recherche artistique dans des espaces de qualité.

"Notre objectif à travers Parkour Partage est essentiellement une initiation à la pratique du Parkour et à la sensibilisation des jeunes" déclare Said Mouhssine, fondateur du Parkour Partage et membre de la compagnie Cie-Accroche toi !. "L'événement suscite beaucoup d'enthousiasme de la part des jeunes, nous recevons une grande demande. L'année passée, la 4ème édition a réuni pas moins de 350 participants."
Par ailleurs, Saïd Mouhssine est l'auteur de la première création marocaine de cirque contemporain, mêlant théâtre et art circassien, nommé "Tarft L'Khobz" (Morceau de pain), une pièce qui raconte l'histoire des ouvriers dans la société marocaine.

Il y aussi le Ftw'art, créé par le groupe Colokolo associé à la compagnie Wajdine, et en partenariat avec Cie Accroche-toi. Il s'agit du rendez-vous incontournable des arts du cirque et de la rue, programmé chaque année pendant le mois de ramadan, et qui propose spectacles et ateliers.

La résidence du collectif
Cie-Accroche toi! et de Colokolo aux abattoirs aura duré 5 ans. Tous les artistes résidents ont été destitués du lieu en juillet 2016, suite à la fin de la convention de Casamémoire avec la fabrique culturelle des abattoirs.

Un espace menacé en permanence qui s'éteint à petit feu
En juillet 2016, l'association Casamémoire cède sa place de gestionnaire des lieux à la mairie de la ville qui en devient responsable. Depuis, toutes les activités du lieu sont interrompues et les artistes sont contraints de quitter les lieux. La compagnie du Théâtre Nomade réussit à rester in situ et est la seule à occuper les lieux actuellement. Une situation critique pour l'avenir des artistes.
"Notre discipline nécessite un entraînements intensif à un rythme régulier et beaucoup d'espace pour qu'on puisse la pratiquer. Nous devons aussi abriter notre matériel. Depuis que la convention est finie, toutes nos activités sont suspendus." affirme Saïd Mouhssine.
" Racine, Cie-Accroche toi et nous-mêmes avons signé une convention avec Casapatrimoine il y a quelques mois, pour que nous puissions avoir le droit de travailler le temps de trouver une solution à la gestion. Jusqu'à présent, nous sommes toujours dans l'attente d'une réponse."
Depuis un an, toute activité est interdite aux abattoirs sans l'autorisation préalable des autorités responsables , y compris les visites touristiques. Il est également interdit de prendre des photographies, selon une note du Wali indiquée à l'entrée. Même les artistes qui y résidaient se voient refuser d'accéder au lieu. Une situation alarmante, qui détruit petit à petit l'espace et tout ce que les artistes ont réussi à y accomplir.
Nous décidons alors de contacter Casamémoire afin de mieux comprendre leur retrait de l'administration de cet espace. Ils nous expliquent que leur contrat avec la ville est terminé, et que c'est désormais la mairie qui gère les lieux en attendant de trouver une structure qui s'en charge. Ils refusent toutefois d'expliquer clairement la raison de l'arrêt du contrat. Quelques recherches nous ont permis d'apprendre que la gestion des abattoirs leur aurait été confisquée, car ils n'auraient pas respecté leur contrat avec le conseil municipal de la ville.
En attendant, la fabrique culturelle des abattoirs est en permanence menacée. Les artistes résidents sont privés de l'espace, alors qu'ils devraient bénéficier d'une institution de plein droit. En attendant, ces derniers cheminent ailleurs et se battent pour s'épanouir dans leur pratique et construire leur projets, non sans difficulté. Ils espèrent retrouver leur foyer artistique aux anciens abattoirs, et rayonner comme avant sur la ville de Casablanca.

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La fabrique des anciens abattoirs de Casablanca, exutoire de la jeunesse marocaine | Web Arts Resistances

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A Casablanca, des anciens abattoirs de grande envergure sont reconvertis en fabrique culturelle. Un lieu fantasmagorique devenu l'exutoire d'une jeunesse résistante en plein mouvement dans l'urbanité chaotique de la ville. Reportage sur un lieu atypique et unique en son genre au Maroc.

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Pépinière urbaine de Tunisie "Ness Elhouma"

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Pépinière urbaine de Tunisie "Ness Elhouma"

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Mots clés: Humanité, inclusion, initiatives urbaines participatives, réhabilitation.

Humanité et Inclusion, en partenariat avec le Lab’ess et Kandeel, porte le dispositif de pépinière en Tunisie "Ness Elhouma", un programme d’innovation urbaine financé par l’AFD. La pépinière accompagne des initiatives urbaines participatives et créatives adaptées aux besoins des habitants, dans plusieurs quartiers en cours de transformation dans le cadre des Programmes nationaux de réhabilitation et d'intégration des quartiers d'habitat précaires.

Plus d'infos:
https://pepinieres-urbaines.org/fr/pepinieres/p%C3%A9pini%C3%A8re-dakar/details/

Contact:
Adem Yahyaoui, Chef de projet Ness El Houma:
a.yahiaoui@hi.org

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Mots clés: Dynamique d’intégration des quartiers, tissu urbain, projet d'Amélioration, services urbains.

Dans une dynamique d’intégration des quartiers sous-équipés du Grand-Abidjan dans le tissu urbain de l’agglomération, le Gouvernement ivoirien a lancé un projet d’amélioration des conditions de vie de ces quartiers dénommé «Projet d'Amélioration des Quartiers Restructurés d’Abidjan (PAQRA)». Le projet vise à réaliser des investissements pour améliorer le niveau des services urbains dans les communes de Yopougon, Koumassi et Abobo (voirie, assainissement, eau potable et eaux usées, déchets, électricité, services socio-éducatifs, etc...). En prélude des études et de l’exécution des travaux, la Pépinière Urbaine d’Abidjan (PUA) a été lancée.

La PUA est mise en œuvre par un groupement composé du Centre Suisse de Recherches Scientifiques (CSRS) (chef de file), d’Urbaplan, de Cabanon Vertical et d'Ola-up, en étroite collaboration avec le Ministère de la Construction, du Logement et de l’Urbanisme (MCLU) qui en assure la maîtrise d’ouvrage. Le projet est financé par l'AFD.

Plus d'infos:
https://pepinieres-urbaines.org/fr/pepinieres/p%C3%A9pini%C3%A8re-abidjan/details/

Contact:
Fatogoma SANOGO: Coordonnateur, Centre Suisse de Recherches Scientifiques en Côte d’Ivoire.
fatogoma.sanogo@csrs.ci

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Mots clés: Redéfinition de la mobilité, appropriation des équipements, approche participative.

Le réseau des transports publics de la région de Dakar est en pleine transformation, avec les travaux en cours et à venir du Bus Rapid Transit (BRT), du Train Express Régional (TER) et de l’ensemble des lignes de rabattement.

Le projet de Pépinière urbaine de Dakar (PUD) s’inscrit dans ce contexte de redéfinition de la mobilité dans l’agglomération dakaroise, et vise à favoriser l’appropriation par les usager·ère·s, et l’ensemble des habitant·e·s, y compris les plus vulnérables, des futurs équipements de transports collectifs, à travers la co-conception et la co-construction d’espaces publics et par des approches participatives, d’information, d’animation et de sensibilisation.

Le projet de Pépinière urbaine à Dakar est mis en œuvre par un groupement composé du Gret (chef de file), d’urbaSEN, d’urbaMonde, du collectif ETC et de Transitec, en étroite collaboration avec le Conseil exécutif des transports urbains de Dakar (Cetud) qui assure la maîtrise d’ouvrage sur l’ensemble du secteur. Le projet est financé par l'AFD.

Plus d'infos:
https://www.gret.org/projet/pepiniere-urbaine-de-dakar/
https://pepinieres-urbaines.org/fr/pepinieres/dakar/actualit%C3%A9s/

Contact:
Abdoulaye FALL, Chef de projet GRET:
fall_a.senegal@gret.org

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IMPACT-ELLE | Engager les filles à travers le dialogue, les tableaux de bord communautaires et le plaidoyer pour lutter contre les grossesses précoces au Bénin

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IMPACT-ELLE | Engager les filles à travers le dialogue, les tableaux de bord communautaires et le plaidoyer pour lutter contre les grossesses précoces au Bénin

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Mots clés: Mobilisation sociale, Construction de la citoyenneté, Plaidoyer, collaboration féminine.

À travers le dialogue, les tableaux de bord communautaires et le plaidoyer, le projet Impact-Elle a engagé les filles et leurs communautés, conjointement avec les autorités locales et départementales, dans une série d'actions visant à lutter contre les grossesses précoces et à promouvoir la scolarisation au Bénin.
Grâce à l'initiative Impact-Elle financée par BNO, International Bénin espère tenir les détenteurs d'obligations responsables d'une société plus juste pour les filles et les garçons ayant des capacités et des vulnérabilités différentes. Cet objectif doit être atteint grâce à des actions audacieuses menant à des environnements favorables à l'agence et au leadership des filles.

Plus d'infos:
https://participedia.net/case/5811

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La budgétisation participative à Yaoundé

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La budgétisation participative à Yaoundé

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Mots clés: Budgétisation participative, stimulation participative, prise de décision collective.

La budgétisation participative (BP) à Yaoundé a été lancée en 2006 pour lutter contre la corruption, stimuler la participation des citoyens au processus de prise de décision et impliquer les représentants du gouvernement directement avec les citoyens. Les rappels par SMS ont été utilisés avec succès pour stimuler la participation en 2012.
A Yaoundé, les maires des communes ont approché ASSOAL pour demander de l'aide pour la mise en œuvre du BP. Le financement du processus provient principalement des municipalités elles-mêmes, cependant, il y a une certaine implication financière de donateurs multilatéraux et bilatéraux dont l'Union européenne.
Dans ce cas de BP, des réunions de médiation ont lieu dans les quartiers locaux pour débattre des priorités les plus urgentes et des projets d'infrastructure nécessaires dans la commune. Les décisions finales dans le processus de BP de Yaoundé sont prises par les maires des communes.

Plus d'infos:
https://participedia.net/case/4798

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Engager les jeunes dans l'élaboration des politiques municipales de jeunesse 

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Engager les jeunes dans l'élaboration des politiques municipales de jeunesse 

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Mots clés: Jeunes leaders, engagement politique, participation des jeunes, gouvernance locale.

Entre 2010 et 2015, les jeunes leaders se sont engagés dans un processus d'élaboration d'une politique municipale de la jeunesse à Santa, dans le nord-ouest du Cameroun, afin de promouvoir une plus grande voix et une plus grande participation des jeunes à la gouvernance et à la prise de décision municipales.
Une succession de méthodes délibératives, notamment des ateliers, des forums de dialogue, des réunions d'apprentissage et de planification par l'action et des réunions publiques, ont été utilisées pour faciliter l'engagement des jeunes.
L'engagement des jeunes a été dirigé par le conseil municipal en collaboration avec YOP et Cuso-VSO (Cuso International a fusionné avec VSO).
Résultats:
- Une culture du volontariat renforcée.
- Visibilité et crédibilité accrues des jeunes pour la participation du public.
- Entrepreneuriat et emploi accrus.
- Un nombre important de jeunes maintenant assoiffés d'engagement.

Plus d'infos:
https://participedia.net/case/5176

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PLAN DE RÉGÉNÉRATION DU SECTEUR RIVERAIN DE MAKOKO/IWAYA

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PLAN DE RÉGÉNÉRATION DU SECTEUR RIVERAIN DE MAKOKO/IWAYA

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Mots clés: Conception communautaire participative, préservation de la culture locale, plan de restauration.

Le plan de restauration du front de mer Makoko/Iwaya, est un plan directeur complet pour la communauté Makoko/Iwaya qui cherche à préserver la culture locale, revitaliser l'environnement bâti avec des logements élégants et bon marché, augmente les opportunités économiques et assure la résilience aux catastrophes pour plus de 40 000 résidents. Sa conception et sa mise en œuvre reposent sur des alliances de planification communautaire rigoureuses et profondément inspirantes et sur l'adhésion des principales parties prenantes, des aînés, des femmes et des jeunes locaux aux institutions universitaires, aux organisations professionnelles et aux ONG. Le plan considère la préservation de la culture traditionnelle au bord du lagon comme une valeur fondamentale, présentant une vision convaincante d'une économie flottante basée sur des composants tels que l'aquaculture et le tourisme durables.
Le projet a été initié par SUPPORT SWITZERLAND en partenariat avec Arctic Infrastructure basée à Lagos.

Plus d'infos:
https://www.bfi.org/ideaindex/projects/2014/makokoiwaya-waterfront-regeneration-plan

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Community Scorecards | Cartes de pointage de la communauté

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Community Scorecards | Cartes de pointage de la communauté

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Mots clés: Cartes de pointage, outil communautaire, évaluation des services, participation citoyenne.

Les cartes de pointage communautaires (CSC) sont un outil utilisé par les communautés pour surveiller et évaluer la performance des services, des projets et même des unités administratives gouvernementales.

En tant qu'outil de responsabilité sociale communautaire, le CSC permet aux citoyens de participer directement ou indirectement à l'exigence de responsabilité des prestataires de services et des agents publics et peut être utilisé pour recueillir les commentaires des utilisateurs de services et améliorer la communication entre les communautés et les prestataires de services.

Le processus du SCC comprend généralement l'utilisation de groupes de discussion et de réunions d'interface animées qui offrent aux utilisateurs de services l'occasion de donner une rétroaction systématique et constructive aux fournisseurs de services sur leur performance. Les réunions en face-à-face aident également les prestataires de services à apprendre directement des utilisateurs de services quels aspects de leurs services et programmes fonctionnent bien et quels aspects ne le sont pas.

Plus d'infos:
https://participedia.net/method/5812

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Geziret El Dahab Dairy, el zohour st.، EL BASSATEEN، El Basatin, Cairo Governorate, Égypte

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Geziret El Dahab Dairy, el zohour st.، EL BASSATEEN، El Basatin, Cairo Governorate, Égypte

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Mots clés: Vernissage, exposition urbaine, performances multidisciplinaires, participation citoyenne.

Le « vernissage Ala Abouh » est une exposition urbaine in situ réalisée par un groupe de performeurs multidisciplinaires qui ont collaboré et expérimenté pour produire des œuvres spontanées dans les espaces d'el «Ala Abouh». Il a eu lieu les 23 et 24 mai 2015.
Le projet a été réalisé sous la tutelle d'Œcumene studio et en collaboration avec les habitants de Geziret El Dahab et en particulier avec les jeunes et les enfants

Plus d'infos:
https://www.oecumene-studio.org/alaabouh/

Contact:
info@ecumene-studio.org

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Mots clés: Intégration des élèves, co-conception, Cohésion sociale.

YGAMA'NA GAMA-SA était le premier d'une série de projets visant à aborder l'intégration des élèves syriens dans les écoles gouvernementales égyptiennes à travers la co-conception de la "Cour d'école" qui rassemble tous les élèves et leurs permet de socialiser et de jouer. Le projet était le premier à être réalisé dans une école primaire mixte à Gamasa, en Égypte.
Le projet a été réalisé sous la tutelle d'Œcumene studio et en collaboration avec UNHCR Egypt et Community Support Programme "CSP".

Plus d'infos:
https://www.oecumene-studio.org/gamassaproject/

Contact:
info@ecumene-studio.org

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Women ans Child friendly spaces | Espaces amis des femmes et des enfants

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Women ans Child friendly spaces | Espaces amis des femmes et des enfants

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Mots clés: Mise à niveau, communauté locale, espace éducatif, participation communautaire, flexibilité, appropriation spatiale.

Le projet a porté sur la mise à niveau d'un espace extérieur existant pour et avec la communauté syrienne et égyptienne. Dans le jardin public de New Damiette, un espace de jeu éducatif a été crée pour encourager les enfants de différents groupes d'âge à apprendre et à vivre une expérience sociale.
L'objectif est de faire participer la communauté locale dans le processus de conception et de construction, dans le but de créer un espace flexible qui peut être approprié par tous les utilisateurs.
Le projet a été réalisé sous la tutelle d'Œcumene studio et en collaboration avec UNHCR Egypt et Community Support Programme "CSP".

Plus d'infos:
https://www.oecumene-studio.org/newdamietta-2/

Contact:
info@ecumene-studio.org

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Mots clés: Espace public inclusif, processus constructif, habitants locaux, aire de jeux.

Création d'un espace public dans l'un des quartiers les plus pauvres de la ville du 6 octobre. Après un processus de consultation des citoyens, la conception et la construction ont été aussi réalisées avec les habitants locaux. La nécessité d'une aire de jeux et de sièges a été décelée, d'où la nature du projet. Le projet a été réalisé sous la tutelle d'Œcumene studio et en collaboration avec UNHCR Egypt et Community Support Programme "CSP".

Plus d'infos:
https://www.oecumene-studio.org/inclusivepublicspace/

Contact:
info@ecumene-studio.org

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Ain Shams, Ain Shams Sharkeya, Ein Shams, Égypte

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Ain Shams, Ain Shams Sharkeya, Ein Shams, Égypte

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Y'AHL EL HAY (Habitants du quartier) à grande échelle

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Y'AHL EL HAY (Habitants du quartier) à grande échelle

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Mots clés: Espaces inclusifs, réhabilitation participative, intervention durable, communauté locale.

Le projet se présente comme la modernisation de trois cliniques et la création d'un espace approprié pour les mères et les enfants. Les centres de santé étaient situés dans la ville du 6 octobre, la ville du 10 Ramadan et le quartier d'Ain shams. Les éléments caractéristiques du projet sont :
- Matériaux et méthodes de construction durables.
- Conception et construction participatives avec la communauté locale.
- Utilisation de matériaux hygiéniques faciles à nettoyer et à entretenir dans le centre de santé.
- Créez des espaces inclusifs pour différents âges.
Le projet a été réalisé sous la tutelle d'Œcumene studio et en collaboration avec UNHCR Egypt et Community Support Programme "CSP".

Plus d'infos:
https://www.oecumene-studio.org/yahlelhay2016/

Contact:
info@ecumene-studio.org

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Y'AHL EL HAY : La coexistence par une approche intégrée

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Y'AHL EL HAY : La coexistence par une approche intégrée

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Mots clés: Mise à niveau, participation citoyenne, soutien à la communauté syrienne, accès au services.

Ce projet vise à soutenir les communautés syriennes et égyptiennes et à leurs assurer un meilleur accès au premier district de la ville d'EL Obour, aux services et aux espaces publics et cela grâce à la mise à niveau du bâtiment de service du district qui comprend le centre de santé, le jardin d'enfants et l'ONG locale. Les intentions de la conception ont émergé des sessions d'évaluation participative des besoins (ANP) tenues avec le conseil municipal, les médecins, les infirmières, le personnel du HC, l'administration et le personnel du KG, les ONG locales et les acteurs de proximité.
Le projet a été réalisé sous la tutelle d'Œcumene studio et en collaboration avec UNHCR Egypt, terre de hommes et Community Support Programme "CSP".

Plus d'infos:
https://www.oecumene-studio.org/yahlelhay2015/

Contact:
info@ecumene-studio.org

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SIWI | Transition urbaine patrimoniale inclusive

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SIWI | Transition urbaine patrimoniale inclusive

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Mots clés: Initiative communautaire, sensibilisation, Environnement Conservation, patrimoine.

« SIWI » est une initiative communautaire initiée par Youssef lbrahim, leader communautaire de SIWA Oasis et Œcumène Studio. SIWI vise à amener la communauté locale, les ONG locales, par ex. Abnaa Siwa, Siwa Community Development and Environment Conservation (SCDEC), en collaboration avec le conseil municipal, les organismes gouvernementaux et universitaires, les chercheurs et les experts à travailler ensemble dans le but de sensibiliser à la restauration ou à la sauvegarde du patrimoine architectural de l'oasis. L'objectif global du projet est de préserver, protéger le patrimoine architectural Siwien ainsi que de définir une nouvelle vision de son avenir urbain à travers une approche holistique et intégrée

Plus d'infos:
https://www.oecumene-studio.org/elementor-1747/

Contact:
info@ecumene-studio.org

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Mots clés: Participation des enfants, interaction sociale, conception participative, processus créatif.

Le projet Dari vise à concevoir et à construire un environnement sûr et adapté aux enfants dans deux orphelinats du district de Shoubra. Le projet a été réalisé en  encourageant les enfants et le personnel à participer au processus du projet pour améliorer l'environnement dans lequel ils vivent et interagissent. L'équipe de Dari a co-conçu les espaces avec la participation d'étudiants en Arts "Finer" et d'éducateurs, des espaces extérieurs uniques: Ils ont utilisé les toits pour en faire un espace pour apprendre, jouer et socialiser.
Ce projet a été réalisé avec la collaboration de Œcumene  studio, Waqe3 Tany for Holistic Development, Sadat Organization for Development and Social Care, Ministry of Social Solidarity.

Plus d'infos:
https://www.oecumene-studio.org/darilab/

Contact:
info@ecumene-studio.org

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Mots clés: Jardin sur le toit, atténuation du changement climatique, espace de rencontre et d'échange.

Goethes Garten est l'un des projets lancés par le Goethe-Institut Alexandria avec la collaboration de Œcumène studio sous le thème de l'atténuation du changement climatique. La vision était de transformer la terrasse de 347 m2 en un jardin sur le toit qui dessert différents utilisateurs en créant un nouveau point de rencontre. "La Communauté entretient maintenant le jardin en tant qu'initiative indépendante et aide d'autres personnes à travers ses événements à faire pousser des plantes sur les balcons et les toits." Goethe.

Plus d'infos:
https://www.oecumene-studio.org/elementor-1738/

Contact:
info@ecumene-studio.org

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Mots clés: Ecole primaire, espace délabré, rénovation participative, développement rural.

Le projet a impliqué le soutien et le suivi des ONG locales, d'Œcumene studio et de l'ASM B'ni Khaled pour développer et mettre en œuvre un projet de rénovation participatif avec les parents et le personnel scolaire d'une école primaire dans la zone rurale du gouvernorat de Nabeul en Tunisie.
L'école primaire "Meznin" est située dans la banlieue agricole rurale de la ville de Beni-Khalled à l'ouest du gouvernorat de Nabeul, située à 42 km de la capitale du pays, Tunis. L'école à un étage est une école élémentaire offrant les six niveaux d'enseignement pour 159 élèves (86 garçons/73 filles). Il y a 13 élèves non inscrits et 2 décrocheurs cette année scolaire (2019).

Plus d'infos:
https://www.oecumene-studio.org/bnikhaled/

Contact:
info@ecumene-studio.org

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Mots clés: Développement rural, architecture sociale, bâtiment durable, espaces adaptés aux enfants, autonomisation par l'architecture, responsabilisation, techniques locales.

We-ganda House est la première phase du projet du centre We-ganda dans la république de Ouganda. Cette phase vise à fournir un espace sûr, favorable et éducatif pour les femmes et les enfants dans la zone rurale du district de Mpigi.
Le projet propose de préparer les femmes locales de Mpigi à la vie pratique et les met sur la voie de l'indépendance financière en leur offrant une formation professionnelle dans les techniques de construction, l'artisanat, l'agriculture et l'élevage.
L'approche est basée sur une collaboration et une participation ouvertes pour favoriser la co-création et la convivialité. WeGanda propose des espaces adaptés non seulement aux femmes et aux enfants mais aussi pour leurs familles et leurs communautés. Le projet est une collaboration entre Œcumène studio et OS-WEAFRICA.

Plus d'infos:
https://www.oecumene-studio.org/wegandaproject/
https://www.facebook.com/OecumeneStudio/posts/weganda-project-is-a-grassroot-mouvement-of-women-in-uganda-wanting-to-have-a-sa/3662459470465873/

Contact:
info@ecumene-studio.org

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Mots clés: Logements rentables, construction participative, matériaux locaux.

Le projet implique l'élaboration d'un plan stratégique pour la conception et la construction d'unités de logement rentables pour les femmes vulnérables, en particulier les veuves et les mères célibataires, à Ouganda. Le premier projet pilote et expérimental est mis en œuvre dans le district de Mpeji en partenariat avec les artisans locaux. La brique à emboîtement est le principal matériau utilisé pour la construction ainsi que d'autres matériaux locaux tels que les roseaux. Le projet est sous la supervision de Œcumène studio en partenariat avec Mpeji City District, Ouroots Africa, Jutiv Construction LTD et Mutibwa Family.

Plus d'infos:
https://www.oecumene-studio.org/mutibwaproject/

Contact:
info@ecumene-studio.org

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Mots clés: Engagement des jeunes, espaces publics, collaboration communautaire.

Making Our Own Space (MOOS) est un programme axé sur l'engagement et l'autonomisation des élèves du secondaire  en les dotant des compétences nécessaires pour transformer les espaces publics de leur quartier.

MOOS utilise des ateliers pratiques sur place pour construire une infrastructure physique et sociale en collaboration avec la communauté environnante. Les étudiants initient, conçoivent et construisent tous les projets ; Grâce à une série de séances de travail en plein air à haute visibilité et à haute sensibilité, ils sont formés à l'utilisation d'outils électriques pour fabriquer des améliorations temporaires et permanentes pour les parcs locaux et les espaces vacants.
Lancé en 2015 par la Cleveland Urban Design Collaborative (CUDC) de la Kent State University , le programme soutient l'initiative Design Diversity de la CUDC en sensibilisant les communautés à l'éventail des carrières en design offertes aux jeunes.

Plus d'infos:
https://www.cudc.kent.edu/moos

Contact:
tschwarz@kent.edu

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Mots clés: Espace public, Médina de Tunis, agriculture urbaine, approche participative, modèle économique circulaire.

L'appropriation de l'espace public par les jeunes à travers l'agriculture urbaine. Elhouma Khir Urban Farming est un projet d'agriculture urbaine qui s'appuie sur une approche participative et collaborative et sur un modèle économique circulaire. Il vise à implanter une agriculture locale diversifiée. Le projet vise à transformer des lieux publics inoccupés, abandonnés et intermédiaires en jardins urbains collectifs pour cultiver des fruits et légumes comestibles. Cet acte de verdissement urbain ne va pas seulement rendre les milieux urbains plus verts, contribuant ainsi à leur embellissement, notamment en permettant de transformer les déchets urbains en ressources productives. Ces espaces deviendront des lieux communautaires urbains pour inspirer et éduquer les jeunes générations.

Plus d'infos:
https://www.oecumene-studio.org/agritecteur/

Contact:
info@ecumene-studio.org

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Mots clés: Jardin résidentiel urbain, espace vivable, appropriation communautaire.

Le projet est initié par Jassim Fahad AlNashmi. Il s'attaque à la transformation de la place du jardin résidentiel urbain à imprimé bleu à Khaldya, au Koweït, en un lieu vivable et approprié où les communautés peuvent s'engager dans plusieurs activités, y compris les enfants.
Ce projet fait partie du programme Lelkol qui est un atelier annuel d'incubation de connaissances collectives. Il a été lancé et soutenu par Œcumene Studio , Placemaking MENA, membres de la plateforme PlacemakingMENA.

Mots clés:
https://placemakingmena-platform.com/lelkol-project/

Contact:
info@ecumene-studio.org

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BORD DE MER D'ALEXANDRIE - POUR VOIR LA MER

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BORD DE MER D'ALEXANDRIE - POUR VOIR LA MER

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Mots clés: Front de mer, droit du citoyen, espace public, redécouverte.

Explorant et luttant pour le droit des personnes à accéder au front de mer d'Alexandrie, l'équipe est dirigée par l'architecte et urbaniste Heba Al Hanafy. Ce groupe de jeunes passionnés d'horizons différents estime que le front de mer d'Alexandrie est un espace public à habiter par les gens et ils utilisent le processus de création de lieux pour redécouvrir, avec leur communauté, ce que signifie perdre cet espace et le récupérer.
Ce projet fait partie du programme Lelkol qui est un atelier annuel d'incubation de connaissances collectives. Il a été lancé et soutenu par Œcumene Studio , Placemaking MENA, membres de la plateforme PlacemakingMENA.

Plus d'infos:
https://placemakingmena-platform.com/lelkol-project/

Contact:
info@ecumene-studio.org

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INTERSECTIONS VIVANTES | SOUDAN Khartoum Junctions

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INTERSECTIONS VIVANTES | SOUDAN Khartoum Junctions

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Mots clés: Potentiel social, régénération urbaine, vision partagée, amélioration de l'environnement.

"Intersections vivantes" à Khartoum, lancé et dirigé par Tasniem Gaafar, vise à utiliser le potentiel financier, social et économique des villes à travers la régénération urbaine. En se concentrant sur le potentiel des intersections de rues, Taqatuat utilise la création de lieux pour rassembler les communautés et susciter un sentiment d'attachement au lieu, créant des liens plus forts entre les personnes et le lieu. Le résultat sera alors une vision partagée des différentes parties prenantes où les gens deviennent partie intégrante du façonnement de la ville et de l'amélioration de l'environnement qui l'entoure.
Ce projet fait partie du programme Lelkol qui est un atelier annuel d'incubation de connaissances collectives. Il a été lancé et soutenu par Œcumene Studio , Placemaking MENA, membres de la plateforme PlacemakingMENA.

Plus d'infos:
Studio 26DARAJA
https://placemakingmena-platform.com/lelkol-project/

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Mots clés: Emplacement historique, création communautaire, utilisation de l'espace.

Lancée par un groupe d'étudiants universitaires, cette équipe travaille sur un emplacement historique spécifique des vieux quartiers de la ville de Tyr. En se concentrant sur la création avec la communauté d'un quartier plus inclusif, l'équipe explore comment faire la lumière sur l'aspect historique et en même temps être en mesure de créer des éléments que la communauté peut utiliser dans l'utilisation de l'espace.
Ce projet fait partie du programme Lelkol qui est un atelier annuel d'incubation de connaissances collectives. Il a été lancé et soutenu par Œcumene Studio , Placemaking MENA, membres de la plateforme PlacemakingMENA.

Plus d'infos:
https://placemakingmena-platform.com/lelkol-project/

Contact:
info@ecumene-studio.org

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MISA7ET EL 7AY - Le quartier du quartier

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MISA7ET EL 7AY - Le quartier du quartier

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Mots clés: Espace public inclusif, approche participative, transformation d'un espace abandonné.

Lancé et dirigé par Sara Nowar, une architecte, ce projet vise à revitaliser la culture des espaces publics en Jordanie. L'emplacement de ce projet spécifique, Russeifa tout en étant l'une des plus grandes villes de Jordanie, n'a pas d'espaces publics inclusifs et sûrs. En partenariat avec l'ONG Recycling for Education qui a un bureau dans la parcelle d'un terrain abandonné enregistré comme parc, l'équipe utilise l'approche participative pour transformer le terrain en un espace public engageant, inclusif et autonome.
Ce projet fait partie du programme Lelkol qui est un atelier annuel d'incubation de connaissances collectives. Il a été lancé et soutenu par Œcumene Studio , Placemaking MENA, membres de la plateforme PlacemakingMENA.

Plus d'infos:
https://placemakingmena-platform.com/lelkol-project/

Contact:
info@ecumene-studio.org

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Mots clés: Atelier d'incubation, développement de projets, espace public, participation citoyenne, milieu rural.

Equipe dirigée et lancée par Billy Abo Jaoude, architecte libanais, Rihab est issue de la réhabilitation et travaille sur les trésors oubliés du village rural libanais. L'équipe découvre en collaboration avec les habitants du village leurs besoins et leur propre vision d'un espace public en milieu rural. L'objectif de ce projet est de faire la lumière et de faire prendre conscience du rôle social et économique des éléments naturels et historiques oubliés des zones reculées.
Ce projet fait partie du programme Lelkol qui est un atelier annuel d'incubation de connaissances collectives. Il a été lancé et soutenu par Œcumene Studio, Placemaking MENA, membres de la plateforme PlacemakingMENA.

Plus d'infos:
https://placemakingmena-platform.com/lelkol-project/

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Mots clés: Transport, vélos partagés, pistes cyclables, accessibilité.

Le Grand Caire, une mégapole d'environ 18 millions d'habitants, fait face à des embouteillages redoutables et à un air gravement pollué. Répondant aux défis de transport de la ville, le gouvernorat du Caire, en partenariat avec le Programme des Nations Unies pour les établissements humains (ONU-Habitat), la Fondation Drosos et ITDP Africa, envisagent un système de vélos partagés pour le centre du Caire. Dans sa première phase, le système comptera environ 700 pistes cyclables réparties dans le centre-ville. Le partage de vélos a le potentiel d'améliorer l'accessibilité en étendant la portée des systèmes de métro et de bus et de fournir une option à faible coût pour les trajets courts.

Plus d'infos:
https://africa.itdp.org/paving-the-way-for-cyclists-in-cairo/

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El Warcha | Un atelier de design collaboratif

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El Warcha | Un atelier de design collaboratif

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Mots clés: Design collaboratif, participation des jeunes, éducation citoyenne, espace publique, échange de savoir, pédagogie alternative.

El Warcha est un atelier de design collaboratif situé au cœur de la médina de Tunis, sur la place de la Hafsia. Son but initial est de promouvoir l’action et l’éducation citoyenne en dehors des structures traditionnelles d’enseignement en développant du mobilier pour l’espace publique avec les habitants du quartier (principalement les jeunes et les enfants). La notion d’échange de savoir et la recherche de méthodes pédagogiques alternatives sont au cœur de cette démarche.

La création de mobilier urbain est une forme tangible d’interaction et de production de bien commun dans l’espace public. El Warcha s’inscrit dans une échelle local et vise a mobiliser les citoyen dans la conception et la gestion du lieu qu’ils habitent et partagent. L’atelier est non seulement un lieu de production et de réflexion mais c’est aussi un lieu de rencontre qui permet de renforcer le lien social.

Ce projet de l'association collectif créatif est mené par Benjamin Perrot, designer et Taha Kamel Balti, architecte d’intérieur. Il a été lancé dans sa forme initial dans le cadre des résidences artistiques de l'association l'Art Rue.

Le projet est soutenu par l'Ambassade de Suisse et la Fondation euroméditerranée.

Plus d'infos:
https://www.elwarcha.org/
https://www.facebook.com/Elwarcha.Studio/?ref=page_internal

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Mots clés: Projets participatifs, actions urbaines associatives, amélioration des conditions de vie, marges urbaines.

L’association DAAME, "appui" en arabe, mène une expérimentation spatiale et politique qui questionne la vie des quartiers populaires du grand Tunis.
Créée en 2016, DAAME regroupe des femmes architectes et urbanistes portées par leur engagement auprès des communautés vivant dans les  marges des villes  dites planifiées. Pour des projets participatifs et des actions urbaines associatives, l'association travaille sur l’amélioration des conditions de vie et de travail des habitant.e.s des marges urbaines.
Elle a pour vocation d’apporter son expertise et son appui aux habitantes et habitants et aide au renforcement des capacités municipales. Elle ancre son travail dans la continuité du contexte politique issu de la Révolution de 2011, en s'inscrivant dans la décentralisation, la durabilité, la participation citoyenne et le nouveau cadre légal relatif à la ville (Constitution de 2014, Code des Collectivités Locales et élections municipales de mai 2018).

Quelques exemples de projets:

1-La voie des femmes à Hay Hlel: Projet architectural auprès des femmes potières dans le quartier marginalisé de Hay Hlel.
2- Réalisation d'une fresque sur les murs de l'école primaire de Hay Hlel par les artistes Z et Shoof.
3- La voie des femmes à El Mourouj: Projet architectural portant sur les ateliers tabouna des femmes boulangères du quartier populaire d'El Mourouj.

Plus d'infos:
https://www.daame.org/

https://www.facebook.com/DAAMEarchi

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Collectif Créatif | Pour des projets culturels indépendants

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Collectif Créatif | Pour des projets culturels indépendants

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Mots clés: Projets culturels, inclusion des jeunes, médina de Tunis.

Créée en 2016, le Collectif Créatif est une association fondée avec et pour des projets culturels indépendants, qui ont la volonté de se regrouper, se développer et travailler en symbiose.  Il regroupe des communautés portant des projets créatifs, culturels, artistiques et sociaux qui ont pour but d’apporter une nouvelle dynamique à la médina de Tunis comme point d’ancrage, en incluant les jeunes et les habitants du quartier dans ce processus.

Plus d'infos:
https://www.collectifcreatif.org/
https://www.facebook.com/Collectif-Cr%C3%A9atif-Tunis-113476726674662

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Mots clés: Inclusion sociale, démarche participative, répondre aux besoins des citoyens.

Fruit de la collaboration entre la commune de Wolfsburg (Allemagne) et la commune de Jendouba (Tunisie), ce lieu convivial inclusif a été conçu dans une démarche participative, pour répondre aux besoins des citoyens, notamment des jeunes et des enfants.

Son aménagement est ainsi adapté aux activités sportives, culturelles et sociales.

Sa gestion sera assurée conjointement par la commune de Jendouba et l’association l’article 12.

Avec un financement par le Bundesministerium für wirtschaftliche Zusammenarbeit und Entwicklung (BMZ) , cette place publique est aménagée dans le cadre du projet « Coopération décentralisée entre villes maghrébines et allemandes » de la GIZ Tunisie ‬‬‬‬‬‬, le Ministère des Affaires Locales et de l'Environnement et la Fédération Nationale des Villes Tunisiennes - FNVT

Plus d'infos:
https://www.facebook.com/GIZTunisie/posts/2705051909579365

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Architecture pour les populations urbaines pauvres: Un cas de mise à niveau participative des bidonvilles

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Architecture pour les populations urbaines pauvres: Un cas de mise à niveau participative des bidonvilles

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Mots clés: Participation communautaire, mise à niveau, approche innovante, dialogue inclusif.

Le programme participatif d'amélioration des bidonvilles (PSUP) est une approche innovante et locale développée en 2008 par ONU-Habitat, le Groupe des États d'Afrique, des Caraïbes et du Pacifique (ACP) et la Commission européenne. Ce projet a donné la parole aux habitants des quartiers informels et a facilité un dialogue inclusif qui a rendu possible la réalisation d’une réforme permettant l'amélioration de leur situation. Actuellement en action dans 35 pays et 160 villes, le PSUP représente une méthode pour relever les défis auxquels sont confrontés les pauvres des villes en les intégrant dans un écosystème de prise de décision plus large et en promouvant les habitants des bidonvilles sous un nouveau jour.

Plus d'infos:
http://uonjournals.uonbi.ac.ke/ojs/index.php/ahr/article/view/538/557
file:///C:/Users/leila/Downloads/2005_EPDreport_Kenya_0.pdf
https://sites.tufts.edu/gis/files/2019/05/Tam-Geoffrey_UEP232_Sp2019.pdf
https://ir-library.ku.ac.ke/bitstream/handle/123456789/19253/Participatory%20project%20Management.pdf?sequence=1&isAllowed=y

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Planification urbaine participative à Kitale

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Planification urbaine participative à Kitale

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Mots clés: Planification urbaine, participation communautaire, inclusion sociale.

À l'aide d'une méthodologie basée sur la diversité des besoins des établissements, les membres de trois organismes kenyans ont eu la possibilité d'envisager l'avenir souhaité de leur communauté grâce à des projets de planification urbaine dans leurs quartiers respectifs.

Plus d'infos:
https://participedia.net/case/4396

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Un exemple d’urbanisme participatif au Mali

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Un exemple d’urbanisme participatif au Mali

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Mots clés: Développement socio-économique, appui aux communes, urbanisme participatif.

La ville de Ségou présente des quartiers déstructurés, à forte densité, avec peu d’infrastructures, de surcroît insuffisamment connectées aux principaux centres d’activités. C'est pour remédier à ces incohérences et promouvoir le développement socio-économique local, que la Banque mondiale et la Coopération suisse financent à hauteur de 47,7 milliards de francs CFA (70 millions de dollars) le projet d'appui aux communes urbaines du Mali (PACUM) mis en place par le gouvernement dans 14 villes maliennes.

Plus d'infos:
https://blogs.worldbank.org/fr/nasikiliza/segou-un-exemple-durbanisme-participatif-au-mali

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Usine à réseaux sociaux | Bureau d'architecture pour tous

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Usine à réseaux sociaux | Bureau d'architecture pour tous

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Mots Clés: Installation, espace public, échelle humaine, rassemblement citoyen, cohésion sociale.

Une installation artistique qui active l'espace public, elle est située sur le terrain de Design Society à Shekou, Shenzhen. Les cônes de l'installation s'étendent vers l'extérieur dans plusieurs directions. Fonctionnant à échelle humaine, les petits cônes permettent aux gens de se parler indirectement tandis que les grands cônes peuvent être occupés et offrent un toit pour les activités sociales. Les tubes torsadés de l'installation rappellent l'héritage maritime et industriel de Shekou. Ils deviennent des télescopes, des périscopes et du mobilier public qui facilitent le rassemblement des citoyens.

Plus d'infos:
https://architizer.com/blog/projects/social-network-factory-1/
https://www.designboom.com/architecture/social-network-factory-peoples-architecture-office-pao-shekou-shenzhen-china-12-28-2020/
https://www.archdaily.com/953539/social-network-factory-peoples-architecture-office?ad_source=search&ad_medium=search_result_all

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Text description provided by the architects. An art installation that activates public space, the Social Network Factory is located on the grounds of The Sea World Culture and Arts Center in Shekou, Shenzhen.

The entire installation is about six meters high and consists of four sets of surrounding "pipe horns" intertwined in a spatial grid.

The horns of the installation reach outward in multiple directions, mirroring the cantilevered volumes of the center by architect Fumihiko Maki. While Maki's design directs views towards distant landscapes, the horns of the Social Network Factory project sounds and voices to immediately adjacent areas, including the waterfront promenade, gardens and museum entrance.

Functioning on a human scale, small horns allow people to speak indirectly to each other while large horns are occupiable and provide cover for social activities. The installation's twisting tubes recall the maritime and industrial heritage of Shekou. They become telescopes, periscopes, and public furniture that facilitate the gathering of people.

The public is welcome to explore the Social Network Factory on their own terms. It is an instrument for discovering new and unexpected ways of aural, visual, and physical interaction.

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Social Network Factory / People's Architecture Office

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Text description provided by the architects. An art installation that activates public space, the Social Network Factory is located on the grounds of The Sea World Culture and Arts Center in Shekou, Shenzhen. The entire installation is about six meters high and consists of four sets of surrounding "pipe horns" intertwined in a spatial grid.

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Mots clés: Concours d'idée, installations spatiales, liaison urbaine, engagement citoyen, interaction sociale, distanciation sociale.

En novembre 2019, le « Downtown Frederick Partnership », en association avec la « Potomac Valley Architecture Foundation», « l'AIA Potomac Valley » et le « Fredrick Arts Council », a parrainé un concours d’idées dans le but d'envisager des installations spatiales dans les ruelles qui participeraient dans la création de lien entre les tissus urbains du centre-ville.

L'une des trois propositions sélectionnées à être mise en œuvre est une application de jeu AR. Elle engage le public à la fois physiquement et numériquement. L'objectif de l'application de jeu est de permettre aux visiteurs d'interagir les uns avec les autres dans les espaces publics en toute sécurité tout en étant socialement distants.

Plus d'infos:
https://worldarchitecture.org/article-links/evzzm/happy-stripe-a-public-art-structure-to-revive-an-abandoned-alley-using-ar-gamification.html
https://www.archdaily.com/954064/happy-stripe-installation-somepeople

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Text description provided by the architects. The Downtown Frederick Partnership in cooperation with the Potomac Valley Architecture Foundation, AIA Potomac Valley and the Frederick Arts Council sponsored a design competition in November of 2019 for spatial installations in specific alleys that would better link the downtown urban fabric. SomePeople's proposal called "Happy Stripe" was one of the three selected projects for implementation. The installation will be in place through November 2021 encouraging locals and visitors to safely visit Downtown Frederick.

Happy Stripe is a playful linear structure made of a bent steel frame and hanging nylon ropes. It acts as a vibrant stripe that highlights the urban and architectural characteristics of the specific lot while creating a dialogue with the existing context. The spline geometry of the frame is a reference to the arches on the neighboring buildings' windows and facade ornamentation. The structure is tilted emphasizing the depth of the alley in perspective. The color of the installation relates to the color of the brick facades

around it. The red-brown brick color becomes a brighter, more vibrant pink color as the stripe enters the alley. The hanging ropes bring porosity to the structure and create playful shadows which change throughout the day.

An AR gaming application is designed as part of the installation, engaging the public both physically and digitally. The goal of the gaming app is to allow visitors to interact with each other safely in public spaces while being socially-distant. In the virtual environment, the installation acts as a big basket, and players are able to throw and score colorful balls into it. Visitors can download the game from the app store and play in teams of up to 10 people.

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Text description provided by the architects. The Downtown Frederick Partnership in cooperation with the Potomac Valley Architecture Foundation, AIA Potomac Valley and the Frederick Arts Council sponsored a design competition in November of 2019 for spatial installations in specific alleys that would better link the downtown urban fabric.